he Dressmaker 






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e Butterick Publishing Company 

NEWYORK LONDON PARIS 




Class LJ-AJs^ 

Book 
Copyriglitl^"^ 



COPYRIGHT DEPOSrr 



The Dressmaker 

A Complete Book 
on all matters connected with 

Sewing and Dressmaking 

from the simplest stitches to the 

cutting^ makings altering^ 

mending and caring 

for the clothes. 



The Butterick Publishing Company 

New Tork London Farts 



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PUBL15HLD BY 

THL BUTTLRICK PUBLISHING COMPANY 

BUTTLRICK BUILDING, NLW YORK 
PARIS LONDON NLW YORK TORONTO 



Copyright 1 9 1 1 . by The Butterick Publishing Company 

©CU303032 



CONTLNT5 



Aids in Dressmaking ....... 58 

Altering Boys' Patterns ..... 74 

Altering Skirt Patterns ..... 69 

Altering Waist Patterns ..... 65 

Aprons 36 

Arrowhead Tacks ....>... 21 

Backstiich 4 

Band Trimmings . .29 

Bar-Tacks . . . , 21 

Barred Buttonholes ...... 13 

Bastings ........... 3 

Bias Bands .......... 29 

Blanket-Stitch 23 

Blind Loops ......... 15 

Blood Stains 130 

Boys' Suits .......... 119 

Bust Form ...» 59 

Bustle 101 

Buttonholes 13 

Buttons Sewed on ....... 15 

Care of the Clothes 128 

Catch-Stitch 5 

Chain-Stitch 22 

Chemise Nightgown 43 

Children's Clothes 50 

Cleaning Laces ......... 130 

Cleaning Silks 129 

Cleaning Velvet 129 

Cleaning Woolen Goods 129 

Coats and Jackets 112 

Combination Garments 42 

Combination Stitch 4 

Cording 30 

Cord Seam 95 

Corset Covers 42 

Crow's-Foot Tack 22 

Cutting Materials 61 

Darning 16 

Drawers 40 

Dresses, Unlined 91 

Dressmaking 58 

Dyeing 125 



Embroidered Edge Facing 8 

Embroidered Edge in Tuck .... 9 

Embroidered Scallops 24 

Embroidery Inserted 9 

Eyelets 15 

Fagot-Stitch 24 

Feather-Stitch 23 

Figured Materials 63 

Flannel Petticoat 36 

Flat Fell Seam 5 

Folds, Bias 29 

French Knots 24 

French Seam 5 

Gatherings 8 

Grease Spots 130 

Gusset 7 

Half-Backstitch 4 

Hems 6 

Hemstitching 12 

Important Points and Aids in Dress- 
making 58 

Infants' Clothes 44 

Ink Spots 130 

Inserting Embroidery 9 

Inserting Lace 10 

Inserting Ruffle in Hem ..... 11 

Iron Rust 130 

Knots, Simple 3 

Knots, French 24 

Lace Inserted 10 

Lapped Seams 97 

Laying out Pattern 59 

Machine-Oil Stains 130 

Maternity Dresses 92 

Medallion Insets 76 

Mending-Tissue 19 

Mildew 130 

Mitered Corners 7 

Mitered Trimmings 11 

Nightgowns 43 

Norfolk Jacket, Boys' 122 

Norfolk Jacket, Ladies' 118 



Open Pocket 100 

Overcasting ■• 4 

overhanding 4 

Paint Stains 130 

Patch Pocket 98 

Patching 18 

Petticoats, Fl nnel 36 

Petticoats, Lingerie 38 

Piping 31 

Plackets 32 

Plaid Materials 61 

Pockets 98 

Pressing Clothes 128 

Remodeling 125 

Rolled Hem 9 

Round-End Buttonhole 14 

Ruffle Applied under Band .... 11 

Ruffle Inserted IN Hem 11 

Ruffle Whipped On 9 

Running Stitches 4 

Russian Blouse Jacket, Boys' . . . 121 
Russian Blouse Jacket, Ladies' . . .117 

Russian Dress, Child's 50 

Sailor or Naval Suit 53 

Scalloped Edge ......... 24 

Seams, Simple 5 



Seams, Tailored 94 

Shirring 25 

Side Pockets 100 

Skirts, Dress 103 

Skirts, Foundation 101 

Slot Seams 96 

Smocking 26 

Sponging Materials 64 

Square Coriners 7 

Stockings, Darned 17 

Stoting .20 

Strap Seams 96 

Tailors' Buttonholes 14 

Tailors' Tacks 21 

Tailors' Tissue 19 

Tailored Seams 94 

Tucks, Simple 7 

Tucks, Nun 106 

Underskirt, Flannel 36 

Underskirt, Lingerie 38 

Waists, Lined 82 

Waists, Unlined 75 

Welt Pockets 98 

Welt Seams 95 

Whipping on Trimming 9 

Yoke, Hip .... • 39 



THL DRL55MAKLR 



CHAPTLR 



5LWING 5TITCHL5 



To MAKE A KNOT, hold the threaded needle in the right hand. Take the end of 
the thread between the thumb and first finger of the left hand, stretching the 
thread tightly. Wind it around the top of the first finger, crossing it over the end 
held between the finger and thumb. Roll the first finger down the ball of the 
thumb about half an inch, carrying the thread with it, and with the second finger push 

the knot thus formed to the end of the 
thread. If a larger knot is required, wind 
the thread around the finger twice. 

BASTINGS are temporary stitches 
used to hold two or more pieces of ma- 
terial together while putting in the perma- 
nent stitches. The thread should be 
smooth and rather fine. Careful ba^ 
sting is essential to successful sewing and 
dressmaking. There are four kinds of 
bastings. 

Even Bastings start with a knot on the 
right side so that they may be easily re- 
moved. Pass the needle over and through 
the material, making the stitches and 
Fis. 2. Uneven Bastings spaces the same length. To fasten the 




Fig. 1 . Even Bastings 







thread, take two stitches over the last 
one made. (Fig. 1.) 

Uneven Bastings are made by the 
method just described for even bastings, 
except that the stitches and spaces are of 
unequal length. The stitches taken upon 
the needle are about a third shorter than 
the space covered by the thread. (Fig. 2.) 

Combination Bastings are used on 
seams where extra firmness is desired 
for close fitting. They are made by ta- 
king, alternately, one long stitch and two 
short stitches. (Fig. 3.) 

Diagonal Bastings are slanting stitch- 
es used in dressmaking to secure the out- 
side material to its lining, particularly 
where the lining is eased on to the mate- 
rial, as is often the case in waist-making. 
The method is shown in Fig. 4. 




Fig. 3. Combination Bastings 




Fig. 4. Diagonal Bastings 



4 THL DRL55MAKLR 

RUNNING 5TITCHL5 are shorter than bastings. The spaces and stitches are of 
equal length. They are used on seams that do not require the firmness of machine or 

back stitching. (Fig. 5.) 



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Fig. 5. Running Stitches 



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Fig. 6. Backstitch 



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Fig. 7. Half-Backstitch 



THL BACKSTITCH is made by ta- 
king up a short stitch back on the upper 
side and a longer one forward on the 
underside of the material, bringing the 
needle out a space in advance. Insert 
the needle to meet the last stitch, pass- 
ing it under the material and out agaii 
a space in advance of the last stitch 
taken. (Fig. 6.) Fasten by making two 
or three stitches over the one last made. 
The backstitch is used on seams requir- 
ing strength and firmness. 

THL HALF-BACKSTITCH is made 
in the same manner as the backstitch, 
except that it is taken halfway back 
instead of all the way, leaving a small 
space between each stitch on the right 
side. (Fig. 7.) 



"^'""'■'^^^U" 



Fig. 8. Combination 5titch 



THL COMBINATION STITCH consists of one backstitch and two or more small 
running stitches. It is fastened like the backstitch. Figure 8 shows a combination 
stitch with one backstitch and two run- 
ning stitches. It is used on seams re- 
quiring less strength than the back- 
stitch. 

OVLRCASTING is a slanting stitch 
used to keep raw edges from raveling. 
(Fig. 9.) In taking the stitch the needle 
should always point toward the left 
shoulder. Hold the material loosely in 
the left hand. Do not use a knot, but 
turn the end of the thread to the left 
and take the first two stitches over it. 
Make the stitches about one -eighth 
of an inch apart and one-eighth of an 
inch deep. 

Keep the spaces between the stitches 
even and slant all the stitches in the 
same direction. Before overcasting, be 
sure that the edges are trimmed off 
evenly. In overcasting a bias Seam, 
begin at the broad part of the piece 
and work toward the narrow part, to 
prevent its raveling while you are 
working on it. 



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Fig. 9. Overcasting 



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OVLRHANDING, top, or over sew- 
ing, as it is sometimes called, is used to 
join folded edges or selvages. (Fig. 10.) 
Baste the pieces with the folds or sel- 
vages exactly even and sew with close F'S- 10- Overhanding 
stitches over and over the edges, taking 

up as few threads as possible, so that when finished the seam will be smooth and flat 
and not form an awkward ridge or cord on the wrong side of the garment. 



SEWING STITCHLS 5 

CATCH-STITCH, sometimes called cat stitch, is a cross stitch used to hold down 
seam edges. It is the preferred finish for the seams of flannel garments, for it does 

away with the clumsiness of a French or felled 

seam, takes the place of overcasting and pre- 
vents raveling. 

Place the edges together and run a seam, 
taking an occasional backstitch. Trim off 
one edge close to the line of sewing and press 
the other edge flatly over it, holding the work 
as shown in Fig. 11. 

Make a knot and insert the needle under 
the edge at the lower left corner, cross the edge 
and take a small stitch a few threads to the 
right. Cross back again and insert the needle, 
taking a similar stitch through all the thick- 
nesses of the material. 

Always point the needle to the left and make the 
cross stitches encase the raw edges. The stitch is done 
from left to right. If preferred, these seams may b(> 
pressed open and catch-stitched, working the stitches 
over the raw edge at each side of the seam, thu- 
holding both down as shown in Fig. 12. 

A quicker method of catch-stitching is shown in 
Fig. 13. This stitch has not the strength of the first 
method and is only used in millinery and in dress- 
making where the work is concealed. This style of 

catch-stitching is done from right to left. f'S- '2. Catch-Stikh on 

Open Seam 








...^ 



^lg 13 Catch-Stitch Used rn 
Dressmaking and Millinery 




Fig. 1 4. Flat Fell 5eam 



A FLAT FLLL SEAM has one edge hemmed down to protect the 

other raw edge. It is used principally for underwear. Baste the 

edges together, and sew with combination stitch. If the edges are 

bias, sew from the broad part of the pieces to the narrow, to 

prevent raveling and stretching. 

Remove bastings, trim the edge toward you close 

to the sewing line, and turn the other edge flatly over it, 

pressing hard with the thumb 

nail. Make a narrow turning, 

baste and hem. (Fig. 14.) 

A FRENCH SEAM is a 

double seam encasing the raw 
seam edges. (Fig. 15.) Place 
the edges evenly together and 
sew close to them on the right 
side of the garment. Trim off 
all ravelings from the edges. 
Turn the wrong side toward you, crease exactly at the seam, and make a second sewing 
of sufficient depth to entirely cover the raw edges. This seam is generally used in 
making garments of wash materials. 




Fig. 15. French Seam 



6 THL DRLSSMAKER 

A HEM is a fold made by twice turning over the edge of the material. (Fig. 
16.) Make a narrow, even turning, and mark the depth for the second turning on the 
material with a coarse pin, chalk or basting, using as a marker a card notched the de- 
sired depth of the hem. Fold on the line, and if the hem is wide, baste at top and bottom. 




Fig. 16. Hem 



Fig. 1 8. Folding for Square 
Corners 





Fig. 1 7. Napery Hem 

Hold the edges you are going to sew on, toward you; 
place the hem over the forefinger and under the middle 
finger and hold it down with the thumb. Begin at the right 
end and insert the needle through the fold, leaving a short 
end of the thread to be caught under the hemming stitches. 

Pointing the needle toward the left shoulder, make 
a slanting stitch by taking up a few threads of the mate- 
rial and the fold of the hem. Fasten the thread by 
taking two or three stitches on top of each other. 

If a new thread is needed, start as in the beginning, 
tucking both the end of the new and old thread under 
the fold of the hem and secure them with the hemming 
stitches. Train the eye to keep the stitches even and 
true. 

A Napery or Damask Hem is used on napkins and 
tablecloths. Turn under the edge of the material twice 
for a narrow hem. Fold the hem back on the right 



Fig 19. Hemming Square 
Corners 



side, crease the material along the 
first fold, and overhand the fold and 
crease together. The needle is in- 
serted straight as shown in Fig. 17. 
Open and flatten stitches with the 
thumb nail. If a square is used, 
turn the opposite side in the same 
manner. Hem the sides before fold- 
ing back on the right side. No ba- 
sting is needed for this hem. Take 




Fig. 20. Folding for Mitered Corners 



small stitches so that the work will look well when the hem is turned down. Directions 
for hemstitching will be found on page 12. 



5LWING ST1TCHL5 7 

5QUARL CORNERS are made by turning under the edges as for hems. Turn the over- 
lapping hem back toward the right side and crease the material along the first fold. 
Open the hems and cut away the underlapping hem to within a seam of the second 
turning. (Fig. 18.) Hem the overlapping edges to the hem underneath, but not 
through to the right side. (Fig. 19.) Overhand 
the ends of the hems. Finish all the corners in 
the same manner. 

MITLRLD CORNERS are made by joining two bias 
edges to form an angle. Turn the edges as for 
hems, and crease. Open the material, fold the 
corner toward the center, and crease where the 
lines cross. Cut the corner off, allowing a narrow 
turning. (Fig. 20.) Fold the hems down all 
around, bring the raitered corners together, and hem 
the side. (Fig. 21.) Hem the corners, but do not 
catch the stitches through the material underneath. 

A GUSSET is a triangular piece of material 
set into a garment to strengthen an opening. (Figs. 
22 and 23.) Fold diagonally a piece of mate- 
rial two and one- quarter inches square and cut it 
on the fold. Take one of the triangles and fold 
it down a quarter of an inch all around, folding 
the straight edges first. Cut away the projecting 




Fig. 21. 



Hemming Mitered 
Corners 



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Fig. 22. Inserted Gusset on 
Wrong Side 

points at the sides. Hold the wrong side 
toward you, with the right angle down and 
fold so that the point at the bottom will 
meet the fold at the bias edge. 

Make a narrow hem all around the 
opening. Pin the corner of the gusset to the 
end of the opening, right side to right side. 
(Fig. 22.) Beginning at the center, overhand 
to the hem as far as the crease in the gusset. 
Fold the gusset over at the crease and pin 
at the center and each corner, taking care 
that the warp and woof threads run parallel 
with those of the garment. Baste and hem 
all around. (Fig. 23.) The lower edge of 
the gusset will have to be stretched to fit 
the opening. 

TUCKS should be marked with a meas- 
ure so that they will be of even width. 



Fig. 23. Finished Gusset on 
Right Side 




Fig. 24. Tuclcs 



8 



THL DRLS5MAKLR 




Cut the gage from a piece of cardboard, and from the end measure down the width 
of first tuclv, making a slash and a bias cut to meet the slash. (Fig. 24.) Make a second 

cut as shown in Fig. 24, allowing for width 
of space and second tuck. 

It is quicker and more accurate to 
make a gage of this sort in measuring short 
spaces, such as hems, tucks and the spaces 
between them, than to use the tape meas- 
ure, as sometimes the eye becomes con- 
fused at the small marks on the tape, and 
mistakes are made that will prove quite 
serious. 

Fig. 25. Gathering 

FOR GATHERINGS, make a row of 
small running stitches. The stitches may be 
the same length as the spaces, or the spaces ■^ 
may be twice the length of the stitches. 
Always begin by inserting the needle from the 
wrong side to conceal the knot. It is better 
to slip the stitches along on the needle and 
not remove it from the material. 

When the gathering is completed remove 
the needle and draw the gatherings up tight. 
Place a pin vertically, close to the last stitch, 
and wind the thread several times around the 




Fig. 26. Position of Needle in 
Stroking Gat tiers 



(Fig. 25.) This holds the gathers firmly together and facil- 




pin in the form of a: 
itates the stroking. 

In Stroking or Laying Gathers the work is held between the thumb and fingers of 

the left hand, with the thumb below the gath- 
ering thread. Put the side of the needle well 
above the gathering thread and press the little 
plait under the thumb, drawing the needle 
down. (Fig. 26.) 

Do not use the point of the needle, as it 
scratches and weakens the material. Continue 
entirely across the gathers, putting the needle 
under each stitch and holding the plait firmly 
with the thumb. Stroke the material above the 
gathering thread as well as below it to make 
the gathers firm and even. 
Two Rows of Gathers are often used in dressmak- 
ing and do not need stroking. A skirt joined to a 
band, a sleeve set in a cuff or sewed into the armhole, 
should be gathered twice so that the gathers will stay 
in the proper place. 

The second row is made with the stitches directly 
in line with those of the first row and one-quarter or 
three-eighths of an inch below them. (Fig. 27.) If 
there is much fulness to be gathered, the spaces be- 
tween the stitches may be lengthened. 



LMBROIDLRY LDGING USED A5 A FACING is 

shown in Fig. 28. The plain material above the em- 
broidery is applied as the facing. Crease the edging 
off at the depth it is to extend beyond the garment. 
Baste the material along the crease so that the seam 
will come toward the inside of the garment. Then stitch the seam, 




Fig. 28. Lmbroidery Facing 



Now turn the 
edging down, fold in the raw edge at the top, and hem down as a facing. The facing 
should be no wider than necessary to make a neat joining. 



5LWING STITCHLS 9 

TO JOIN LMBROIDLRY IN A TUCK, make several tucks in the plain material above 
the embroiderj^ if it is wide enough. Then measure carefully the amount for the 
space between the tucks, the under part of the tucks, and the seam. Cut away the 
superfluous material and join the edging to the gar- 
ment. Crease the tuck with the seam directly in the 
fold so that the raw edges will be encased in the tuck. 
When the materials of the garment and the embroid- 
ery are similar, and there are several tucks above and 
below the seam, the Joining is imperceptible. (Fig. 29.) 




Fig. 29. Embroidery Joined 
in a Tuck 



A ROLLED HEM 

in joining trim- 
ming of any kind 
to a garment of 
sheer wash ma- 
terial. Hold the 
wrong side of the 
material toward 
you, and, after 
trimming off all 
ravelings, begin at the right end and roll the 
edge toward you tightly between the thumb 
and forefinger of the left hand, keeping the edge 
rolled for about one and a half inches ahead of 
the sewing. (Fig. 30.) 

EMBROIDERY MAY BE INSERTED by differ- 
ent methods. When a straight-edge insertion 
is used, the plain cambric may be cut away 
at each side of the embroidery. The material 
of the garment is then cut away under the em- 
broidery, leav- 



may be used as a dainty finish 




Fig. 30. Insertion Inset with 
Roiled Hem 





Fig. 3 1 . Insertion Inset by Mactiine 

be left on the insertion as well as 

and be put together by a tiny 

This is the finish most commonly 



ng a small 
eam, which is 
rolled and whip- 
ped to the em- 
broidery as 
shown in Fig. 30. 
If preferred, a 
small seam may 
on the garment 
French seam, 
employed. 

Embroidery also may be inserted by a machine 
fell seam. (Fig. 31.) Baste the insertion to the ma- 
terial with a narrow seam on the wrong side. Trim 
off all ravelings and insert raw edges in the hem- 
mer of the machine, and stitch as in hemming. 

WHIPPING ON TRIMMING is generally done 
on an edge. If lace, it should be either gath- 
ered by pulling the heavj^ thread which is 
usually found at the top, or whipped and drawn 
as in a ruffle. Roll an inch or two of the gar- 
ment material, place the lace with its right 
side to the right side of the material, and whip 
both together. (Fig. 32.) Lace may be whipped 
on plain if preferred, but it must be eased in. 
Insertion may be inset in the same way. 
A Ruffle Used as Trimming may be whipped and gathered. Roll the raw edge and 
overcast the material as far as it is rolled, taking care to make the stitch below the roll, 



Fig. 33. Whipping and Gathering 



10 



THL DRL55MAKE.R 



not through it. (Fig. 33.) Draw up the thread, making the ruffle the desired fulness. 
Divide the ruffle in quarters and naark them with colored thread. Make corresponding 
marks on the edge to which the ruffle is to be attached. Roll the edge of the garment 



^%di^ii^P^ 



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I iirilrfi r TiilljtoMJiitiiii*iij 

Fig. 34. Showing Cut for Lace Insertion 



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and overhand the ruffle to it, taking a stitch 
in every whipped stitch of the ruffle. 

METHODS OF IN5E.RTING LACE and 

insertion, when the material has a straight 
edge, are shown in Figs. 34 and 35. Fold the 
material for a hem, creasing the lower fold 

hard 





taiiiitiiiiliiiiii 



Fig. 35. Finished Effect of inserting Lace 




Fig. 36. Lace Insert 

If the insertion is narrow, the ma- 
terial is cut through the center (Fig. 
36); but if the insertion is wide, the 
material is cut away from under- 
neath, simply allowing a seam on 
each side. The edge is turned in a 
narrow hem covering the line of the 
basting. Stitch the insertion close to 
the edges from the right side, and at 
the same time catching through the 
material hemmed down. 

Insertion aboi^e a Facing is first 
basted in position, and the upper 
edge is finished as shown in Fig. 37. 
The facing is generally used when 
the outline of the lower edge is 
curved or pointed so that it can- 
not be turned up in a straight hem. 



Open the hem and baste the lace edge 
just below the lower fold, and stitch. (Fig. 
34.) Turn back the hem and crease the mate- 
rial on a line with the top turning of the hem. 
Cut to within a small seam above this crease. 
Fold in the raw edge, insert the edge of the 
lace insertion, and stitch. Turn a second hem, 
following the preceding directions, baste the 
other edge of the insertion just below the lower 
crease, and stitch as before. As manj^ rows of 
insertion may be used in this manner as are 
desired. 

To Insert Lace Insertion in a garment, 
pin the lace in the position desired, and baste 
down both edges of the insertion. 




Fig. 37. Lace Insert above Facing 



5LWING STITCHE.S 



11 



The facing is cut to fit the outline of the lower edge and applied as a false hem, as 
shown in Fig. 37. When edging is used, it is basted to the bottom before the facing is 
added and all stitched in a seam together. Turn under the facing at the line of sewing, 

r- _-^-. — _-___ baste in position and stitch insertion from 

I the right side. 

I I TO IN5E.RT RUFFLES IN A HLM turn 

I the hem toward the right side of the gar- 

ment and crease the fold hard. Divide 
both ruffle and hem in quarters and mark 
each division with colored thread. Insert 
the edge of the ruffle in the hem close to 
the fold (Fig. 38) with the right side of the 



i 




Fig. 38. Ruffle Inserted in a Hem 

ruffle to the right side of the garment 
and the corresponding marks together. 
Baste and stitch one-quarter of an inch 
from the fold. Turn the hem back to 
the wrong side of the garment, fold the < 
second turning, baste and hem. (Fig. 
39.) (_ 

TO COVLR THE JOINING OF A 
RUFFLE., divide both ruffle and garment 
in quarters and mark with pins or colored 
thread. Gather the ruffle and baste it to the 
garment. Turn the raw edges up on the 
garment and cover with a narrow bias band 
which can be bought by the piece with the 
edges turned ready for use. (Fig. 40.) This 
finish may be used on either the right or 
wrong side of the garment. Frequently 
this finish is used on berthas or scalloped 
edges that are not lined or faced. 

TRIMMINGS MAY BE MITERED so 

that the joining will scarcely be seen. If 
embroidery, fold it over so that the crease 
comes exactly in the middle of the corner, 
taking care to match the pattern per- 



Hg. 39. Finished Ruffle on Right Side 




Fig. 40. Band Covering Joining of Ruffle 




Fig. 41 Showing Cut for Mitered Corners 



fectly. Crease firmly, and cut 
on the creased line. (Fig. 41.) 
Place the right sides face to face 
and buttonhole the raw edges 
together with short, close stitches. 
Fig. 42 shows the finished corner. 
The method of making the but- 
tonhole stitch is shown in Fig. 48. 



12 



THE DRL55MAKLR 




the 




Fig 42 Mitered Lm 
broidery 



lit, 43 Mitcrtd 
Lace 



Lace may be mitered in the same way, but it should be cut between the cords, not 
across them. Overhand the edges together, putting the needle back the depth of two 
cords. (Fig. 43.) 

Fig. 44 shows the figures cut around the edge, lapped and hemmed around 
the figure on each side. 
If a stronger corner is 
desired, the lace may be 
mitered in a very tiny, 
flat hem. 

HLMSTITCHING is 
a line of open-work 
made by drawing out 
parallel threads and fas- 
cross threads in successive small 
clusters. Draw as many threads of the material 
as desired at the top of the hem, and bastc^ 
it on this line. Hold the hem towaid you 
and work on the side on which it is tuined 
up Fig. 45 shows the position of the hem 

with the stitching done 

from left to right. 

Insert the needle in 

the underfold of the hem 

at the left-hand edge. 

Hold the work over the 

forefinger of the left hand, 

keeping the thumb over 

the thread. Take up four 

or five threads with the 

needle, and draw the 

needle through, holding 

the thread firmly by the 

left thumb At the ex- 
treme right of these 

stitches take a short stitch 

in the fold of the hem, as 

shown in the illustration. Now 

take up the same number of threads 

as before, and repeat. Care must 

be taken to keep the warp and 

woof threads exactly parallel, es- 
pecially in hemstitching a comer 

where the material has not been cut 

away. 





Fig. 45. Hemstitching 



i: 






Fig. 46. Preparing for Machine 
Hemstitching 



i 

Fig. 47. 



Hemstitching bv 
Machine 



Machine Hemstitching is a sim- 
ple way of making imitation hem- 
stitching on the machine as shown 
in Figs. 46 and 47. Fold the ma- 
terial for a hem, and cut the gannent 
off one-quarter of an inch above 
the sewing line. Fold blotting 
paper or any soft paper to one-eighth of an inch thickness. Place the two cut edges of 
the garment together, as if to sew a seam. Slip the blotting paper between the two edges, 
loosen the tension of the machine and stitch a quarter-inch seam through all the thick- 
nesses. (Fig. 46.) When the seam is stitched, cut the paper close to the stitching and pull 
it out. The stitches between the two edges of the material will then look like Fig. 47. 
The edge toward the hem is turned down and the hem is stitched by machine, close to 
the turning. The raw edge of the garment is turned in and stitched by machine. 



CHAPTER II 



BUTTONHOLL5 



A WELL- MADE GARMENT that is otherwise perfect may be greatly injured in ap- 
pearance by badly made buttonholes. They should always be properly spaced and 
marked before they are cut. Mark the points for the top and bottom button- 
holes, and divide the distance between these two points into the desired number of spaces. 
The slit must be cut on the thread of the goods, if possible, and must be large enough 
to allow the button to slip through easily, as a buttonhole becomes tighter after it is 
worked. 

With the buttonhole scissors carefully test the length of the slit and make a clean 
cut with one movement of the scissors. One of the most noticeable faults in buttonhol- 
ing results from an uneven or ragged slit. This may be caused by dull scissors or by 
the slipping of the fabric. To prevent the material from slipping, baste around the 
cutting line before using the scissors. 

There are three kinds of buttonholes, one with the bar at both ends (Fig. 49), another 

with one round and one 

barred end (Fig. 50), and a 
third called the tailor's but- 
tonhole. (Fig. 51.) 

BARRED BUTTON- 
HOLES as illustrated in Figs. 
49 and 50 are used for un- 
derwear, waists and shirts. 
If the buttonhole is in an up- 
right position as in the cen- 
ter of a plait, or if the strain 
does not come at the ends of 
the buttonhole, as at the cen- 
ter back of a neck-band, the 
buttonhole with a bar at both 
ends (Fig. 49) is used. If 

the strain on the buttonhole comes at one end so that the 

button requires a resting-place as in a cuff or belt, use the but- 
tonhole with the round end. (Fig. 50.) Buttonholes are 

stranded to prevent the edges from stretching. Bring the 

needle up at one end of the buttonhole, and, allowing the 

thread to lie along the edge of the cut on the right side of the 

material, stick down at the opposite end. Do the same on 

the other side of the cut and stick down opposite the first 

stitch, with a stitch across the end to fasten the thread. If 

the material is inclined to fray, the edges may be overcast 

before working the buttonholes. 

To make the stitch, place the buttonhole over the forefinger 

of the left hand, holding it in position with the thumb and 

second finger as shown in Fig. 48. Begin to work the button- 
hole close to the corner or starting-point. Insert the needle, 

and while it is pointing toward you, bring the double thread 

13 




Fig. 48. Correct Position in 
Making Buttonholes 




Fig. 49. Buttonhole with 
Bar at Both Ends 



14 



THL DRL55MAKLR 



as it hangs from the eye of the needle around to the left under the needle. Draw the 
needle through the loop, letting the thread form a purl exactly on the edge of the slit. 
Continue these stitches to the opposite end, being careful to take them the same depth 
and close together. Now pass the needle up and down through the goods until two or 
three threads cross the end of the slit quite close to the buttonhole stitches, thus form- 
ing a bar tack. (Fig. 72, page 21.) At the end, turn the work 
around so that the bar end is toward you and make several button- 
hole stitches over the bar tack and through the material. (Fig. 
49.) Work the other side of the buttonhole and the second bar. 

THL ROUND-END BUTTONHOLL is stranded in the same man- 
ner as the double-barred buttonhole. Fig. 50 illustrates the 
steps in the making of this buttonhole with the opening first 
stranded and then overcast. 

Begin the buttonhole stitch as in the first buttonhole, work- 
ing down one side. When the outer end is reached, the stitches 
are taken on a slant, inserting the needle each time at a little 
different angle until the end is rounded. Continue the work on 
the other side. The inner end is finished with a bar tack. The 
different steps of this buttonhole are shown in the illustration. 

THL TAILOR'5 BUTTONHOLE, is used for garments of heavy 
cloth, as the round end or eyelet provides a resting-place for the 
shank of the button or the stitches holding the button. Baste around 
the line of cutting so that the material will not slip, and cut the slit 
the desired length. At the outer end 
cut a small eyelet as shown in the 
top figure in the illustration, 51. 

After cutting, the buttonhole 

should be stranded so that the worked 

edge of the buttonhole will be firm 

and distinct. This may be done 
with two threads of twist. Tailors follow the plan of 
using cord formed of several strands of the buttonhole twist, 
or linen thread twisted together, or a gimp cord. An end of 
this cord or thread is secured at the inner end of the button- 
hole between the fabrics, and the other end is fastened to 
the knee or some convenient place and kept taut by a slight 
strain upon the work as it is held in the hand. 

By this strain the cord is kept straight and in position 
just back of the edge of the buttonhole. The stitches are 
worked over the cord by the usual movements. After each 
stitch is drawn down, the loose twist should be picked up 
firmly by the thumb and forefinger quite near the stitch, 
and two or three circular twisting movements should tx 
made so that the loop formed will settle securely and neatl} 
into its proper position. Be careful to complete each stitch 
with uniform movements. When the eyelet is reached, the 
work is adjusted so that the stitches may be made at the 
proper slant. The stitches should radiate from the eyelet as the spokes do in 



m 


\ 

J 1 




\:i 



fig. 50. Buttonhole with 
Round Lnd 




Fig. 5 1 . Tailor's Buttonhole 

wheel. 



The inner end of an eyelet buttonhole may be bar-tacked. Sometimes the bars are 
simply worked with an over-and-over stitch. This is done by passing the needle up 
through the fabric at one side of the bar and down through it at the other side until the 
bars are entirely covered with these stitches and the stays look like a fine cord. After 
the buttonholes are worked, their edges should be closely basted together by an over- 
and-over stitch made by pushing the needle up and down over the edges just back of the 
stitches. Then they should be pressed under a dampened cloth. In fact, aU buttonholes 
should be pressed if the goods will permit. Before they are dry, a stiletto should be 
pushed up vigorously through each eyelet until the opening becomes perfectly round 



BUTTONHOLLS 

and the stitches around its edges are regular and distinct. 
When the bastings are removed, the buttonholes will be 
symmetrical in appearance. 

BLIND LOOPS are used on garments fastened with hooks 
and eyes, to take the place of the eyes. The process of making 
them is shown in Fig. 52. Mark the position of the loop oppo- 
site the hook, knot the thread and bring the needle up through 
the material. Make a bar-tack the desired length by taking 
three or more stitches one over the other. Working from left 
to right, hold the thread down with the left thumb, and insert 
the needle, eye foremost, under the bar and over the thread. 
The use of the blunt end of the needle facilitates the work. 
Draw the thread up, letting the purl come to the lower edge <<{ 
the loop. Repeat the stitches, covering the entire bar-tack, r 
and fasten on the wrong side. Sometimes the bar-tacks are[^:: 
made in the form of a cross-stitch. 



15 



Fig. 53. Lv 



blind 



LYLLLT5 are holes 

made and worked in a 

,ii;arment to hold the 

cord or buttons. The 
— method of making 

is shown in Fig. 53. 

Pierce the eyelet - hole 

with a stiletto. Make 

nmning stitches around 

the circle, place the hole 

over the fore finger of the 
left hand and buttonhole the edge, covering the running stitches. Work from right to 
left, as shown in the first figure of the illustration. 

METHODS OF SLWING ON BUTTONS fre illustrated in Fig. 54. Always use a 
coarse single thread in preference to a fine double one. In placing buttons in posi- 
tion, lap the edges of the garment, and push a pin through at the outer end of the 
buttonhole. This will bring the button exactly opposite the buttonhole. Make a 
knot in the thread, push the needle through from the right side so that the knot 
will be directly under the button. Place the button in position. Bring the thread up 

through a hole in the button and 

down through the hole diagonally 
opposite as shown in the second fig- 
ure. Place a pin under the thread 
on top of the button in order to keep 
the thread loose, and make a cross- 
stitch through the remaining holes. 

Repeat the stitches until the but- 
ton is securely fastened. Remove 
the pin, draw the button away from 
the material as far as possible and 
wind the working thread tightly sev- 
eral times around the threads between the button and the material, thus forming a 
thread shank for the button. If a button is too closely sewed to the garment, it will not 
have room to rest easily in the buttonhole and will crowd the latter out of shape and 
make the spacing seem irregular. The loose sewing and the winding increase the dura- 
bility of the work and lessen the strain on the button. 

The first figure shows another way of sewing on a button in which the stitches are not 
crossed. This method is used in dress and coat making, as the stitches are considered 
more ornamental. The third figure shows the method of sewing on a shank button. 
Make the stitches parallel with the edge when sewing on this button so that the strain 
will come on the shank. 




Fig. 54. 5ewing on Buttons 



CHAPTLR III 

DARNING AND MENDING 




NOWHERE is the maxim " A stitch in time saves nine " more applicable than in 
the household. Here it implies, in a general sense, the immediate repair of any 
and all household articles. But the proverb is more particularly associated with the 
thought of mending and darning the household linens and the clothing of the fam- 
ily. Every one will agree that a patch is better than a hole, but it is still better to postpone, 
and, if possible, to prevent, the hole wherever the case will permit it. 

DARNING is a simple remedy for many cases of prevention as well as cure. A few 
general directions will apply to darning in all its various phases. Neatness and the care- 
ful selection of materials most appropriate for the work are the chief requirements for 
successful darning. Whether the material to be darned is cotton, silk or wool the darn- 
ing thread should correspond in thickness and color to the thread 
in the material, and the needle should be neither coarser nor finer 
than required. 

For Reenforcing worn places before the hole has come through, 
particular care should be taken to make the work as inconspic- 
uous as possible. A thread or raveling of the material will do 
better than one of sewing silk, as the latter, no matter how well 
matched in color, will be sure to have a luster that will bring 
the stitches into prominence. The drawn thread need not be 
long; short ones can be worked in just as well. 

Baste the part to be mended over a piece of medium stiff, 
glazed paper, or table oilcloth. Use a needle as fine as the 
thread will permit. Darn back and forth with as fine stitches as 
possible, following the grain of the goods and keeping the threads 
loose so that they will not draw. (Fig. 55.) The ends of the 
threads are not fastened, but are clipped off close to the garment 
when the work is finished. 

A Running Darn is used when the garment is worn too thin 
to be mended satisfactorily by reenforcing. Insert the needle 
a short distance from the edge of the worn or thin part, and 
parallel with the thread of the weave. Run it under a few threads 
and over a few, to the opposite side of the worn place. Re- 
turning, run the needle over the threads that were taken up, 
and under those over which it passed in the first row. Con- 
tinue the process until the whole thin surface has been given 
a new body. In Fig. 56, white thread has been used in order 
to show the stitches. 

When the part to be mended requires still more body than 
can be given by the running darn, a piece of the material may 
be laid on the wrong side, and while applying the running 
darn, this piece is occasionally caught up by the needle to 
hold it securely in position. 

A Woven Darn is necessary when a hole has been worn 
The threads in this case are woven both lengthwise and cross- 
of the garment. First baste the part with the hole over a piece 
of paper or table oilcloth, taking care not to draw it out of shape nor to let it bag. Do 
not trim the frayed or worn edges off. The unevenness around the edge, which these 
frayed ends create in the process of darning, helps to make the darned place less con- 

16 



Fig. 55. Reenforcing a 
Worn Place 




Fig. 56. A Running Darn 

through the material, 
wise with the weave 




Fig. 57. Woven Darn 



DARNING AND MLNDING 

spicuous. The lengthwise threads are run in first. Starting 
well in from the edge of the hole at one side, take up a few 
small stitches, cross over to the opposite side and again run a 
few stitches into the edge. Keep the threads taut, but not 
tight enough to pull. Returning, leave a tiny loop at the 
turning-point, to allow for shrinkage of the darning threads. 
Continue back and forth till the hole has been covered. Now 
begin the crosswise threads in the same way; darn over and 
under the lengthwise stitches, alternating with each return 
thread. The frayed edges are caught in the weave as they 
happen to come, and are firmly secured between the latticed 
threads. (Fig. 57.) 

STOCKINGS are darned on the right side to keep a smooth surface next the foot. 
A darning-egg or ball, held in the left hand, is slipped under the hole, with the stocking 
stretched smoothly, but not tightly, over it. The darning is done with the right hand. 
In a woven darn the darning threads in a stocking usually run up and down with the 
rib, and then across, but when the hole is at the knee or heel, where greater elasticity is 
desired, the threads are run across diagonally. 

A Broken Stitch or two in a stocking, sometimes giving the 
appearance of a large hole, can be very easily remedied if 
attended to at once. With a silk thread, pick up the broken 
stitches and draw the edges together, and by a web-like weav- 
ing close the hole. 

A Dropped Stitch is an ugly imperfection in a stocking that 
is more easily remedied by the use of a crochet-hook than by 
darning. Slip a fine crochet-hook through the little loop at 
the lower end of the hole; catch up the first thread, and pull 
it through the loop. Continue until every dropped thread 
has been caught, then securely fasten the last loop at the end 
with a few sewing stitches. Fig. 58 shows the position of 
the crochet-hook in the process of picking up dropped stitches. 
To Set in a Piece is a very satisfactory way of extending the 
term of usefulness of the stocking when the hole 
is too large to be neatly darned. For this pur- 
pose it is always well to keep on hand the leg por- 
tions of a number of stockings of which the feet have 
been worn out and discarded. 

Baste the part to be mended over a piece of paper 
and trim off the ragged edge. Cut a piece from a 
stocking-leg, matching it in color and texture, with the 
ribs running like those in the stocking, and conform- 
ing in shape to the hole, but a trifle smaller. Baste 
this picrc iii(M position on the paper, and join the two 

edges, the 

needle ^ . . 

i) losing in f>S-59. Setting a Piece in a Stocking 

t lose Stitches, alternating, over one edge and 
ruider the opposite, until the piece has been 
securely and neatly worked into position. 
The stitch in this method will be seen to form 
a kind of lacing, which must be done evenly 
and closely, but not tightly enough to raise 
the edges. (See Fig. 59.) 

An Underlaid Piece Darned In is a still 

better method of closing a hole when the 

stocking or garment is very loosely woven or 

knitted, in which case the use of a darning-egg 

Fig. 60. An Underlaid Piece Darned In would give it a baggy appearance. Do not 




Fig. 58. Picking up a 
Dropped Stitch 



I^FrTI^'' 





18 



THE DRESSMAKER 



trim oflf the ragged edges. Cut the underlying piece a trifle larger than the hole, but 
conforming to it in shape and matching it in color and texture. Baste the piece on the 
paper first, and then lay the hole over it. Or the torn piece may be stretched over an em- 
broidery hoop and the patch basted to it. Run the darning-needle back and forth, 
over and under the lapped edges, closely weaving them together, keeping down all 
the loose ends. Fig. 60 shows the right side of the finished darn, a black thread having 
been used in the illustration to show the stitches. 

A PATCH is generally used for mending flannel or heavy woven underwear, par- 
ticularly if the garment is too much worn to warrant the time and work necessary for a 
careful darn. 

A Flannel Patch is a piece of the material 
basted on the wrong side of the worn or torn 
part, and catch-stitched to the garment with 
small stitches all around the edge. The worn 
place, or the ragged edge of the hole, is then 
cut away from the right side, and the edge 
catch-stitched all around in the same man- 
ner. (Fig. 61.) 

A Hemmed Patch is used — unless the hole is 
so small that it can be neatly darned — for 
mending material that requires frequent laun- 
dering, such as muslin underwear, bedding 
or household linen. If the material is striped 
or figured, the patch should be cut so that 
the lines will match. Pin the patch into posi- 
tion on the underside of the piece to be mended. 
Crease a seam all around and baste it down. 
Now cut out the worn part, allowing a nar- 




ng 5ide of Hemmed Patch 




iy. b3. Riyht iide of Hemmed Patcfi 



row seam at the edge. Clip the edge a trifle at each corner, turn in the seam, and baste 
it down. Then with fine stitches sew the patch down all around on both sides of the 
material. (Figs. 62 and 63.) 

An Overhanded Patch is used on material that is seldom washed, and where the raw 
edge on the wrong side is not objectionable. The sewing in this patch is not so notice- 
able as in the hemmed patch, for it has but one line of stitches. In cutting the patch 
be sure to match the stripe or figure. The piece should be large enough to cover the 
hole well, when it is basted over it with tailors' tacks. (Directions for tailors' tacks are 
given on page 21.) When the patch has been basted and cut apart, it will be seen that 
the exact outline of the patch has been marked on both the garment and the patch. The 
uneven edges are trimmed away leaving a narrow seam. (Figs. 64. 65 and 66, page 19.) 



DARNING AND MLNDING 



19 




Notch the corners of the hole diagonally to the line 
of tacks, and trim off the corners of the patch. Turn 
the seam edges of both hole and patch toward 
the wrong side on the line of the tacks, and baste 
together. Then with small overhand stitches sew 
the patch in securely, being careful during the 
whole proceeding to keep the warp and woof threads 
of the material straight at the joining edges. Figs. 
65 and 66 show both sides of the patch after it has 
been well pressed. 




Fig. 66. Completed Patch 



Fig. b5 Wrong bide of Patch 

MLNDING T1S5UL. or TAILORS' TI5SUL. as it 

is sometimes called, is a great convenience in cases 
of awkward rents or tears where patching would be 
undesirable. It is a semi-transparent substance, 
resembling the thin rubber used in dress shields. 
It melts under a hot iron and acts like a glue, 
holding the torn fibers together. 

A Triangular Tear should be mended imme- 
diately, before the edges have had a chance to 
fray. The torn part of the garment should be 
laid, wrong side up, over an ironing-board. Push the 
torn edges together, bringing them as nearly as possi- 
ble tf) their original position. Lay a square piece of 
the mending tissue large enough to completely cover it 
over the tear and a piece of the cloth over the tissue. 
Baste the cloth piece in position, but do not let the 
basting threads run through the mending tissue or 

they can not be easily 

drawn out. Then run 

a hot iron over it all 

several times until the 

two pieces and the 

ragged edges are nicely 

stuck together. Cut 

away all superfluous 

material around the 

edges. Fig. 67 shows 

a satisfactory result of 

this method of mending on the right side of the material. 

A Patch may also be set in with mending tissue in cases 

where it is undesirable to have any stitches showing. 

The hole is trimmed to a square or oblong shape, and a 

Fig. 68. A Piece Set In piece cut the same shape, but a seam's width wider all 





Fig. 67. A Rent Repaired with 
Mending Tissue 



20 



THE DRESSMAKER 



around. Lay the garment over an ironing-board, as directed above, and, between the 
edges of the hole and the lapped edge of the patch, lay strips of the mending tissue. Be 
careful not to have any of the tissue extending beyond the torn edge on the right side, 
as it will make an ugly mark after being pressed. Fig. 68 shows a hole neatly mended 
by this method. 

STOTING is a process of mending much used by tailors, especially on closely woven 
or very heavy cloth that does not fray. The first illustration. Fig. 69, shows the cut, and 
in Fig. 70 is shown the 
position of the needle 
and thread in the proc- 
ess of stoting. Use 
either a thread drawn 
from the cloth, or a hair, 
to do the stoting. 

The part to be mend- 
ed is basted smoothly 
over a piece of paper. 
The needle is inserted 
about half an inch from 
the torn edge, and run 
between the threads of the cloth, across the cut, to half an inch on the opposite side, 
and drawn through. Reinserting it, run the needle back on a somewhat slanting line 
and continue until the cut has been closed. Then repeat the same process, running 
the threads in the opposite direction. When pressed, this mending can hardly be noticed, 
but stoting can only be done over a clean cut or tear. On material that is not thick 
enough for the needle to pass between the weave, it must be done on the wrong side as 
lightly as possible. 





Fi^. 69. A Cut in Heavy Cloth 



Fig. 70. Stoting with a Hair 



CHAPTLR IV 

PRACTICAL AND ORNAMENTAL STITCHES 




Tailors' Tacks 



TAILORS* TACKS are used in cutting out garments to mark seams, perforations, etc. 
They are used to give a clean exact line for the sewing. When laying out the 
pattern on the material, mark all the perforations as directed in the pat- 
tern instructions with chalk and cut the pieces. Then with a double thread 
baste through both thicknesses of the cloth 
wherever it is marked, alternating one long 
and one short stitch. Leave the long stitches 
loose enough to form a loop under which a 
finger can be passed. (Fig. 7L) Then cut 
every long stitch and separate the two pieces, 
cutting the threads that still hold them to- 
gether as you go along. There will then hi- 
enough stitches in each piece to indicate 
the sewing line plainly, and both pieces will 
be marked exactly alike. For waists or 
coats, or for any curved outline, the tack 
stitches should be quite short. 

In using tailors' tacks for marking long tucks or plaits in skirts, etc., the loose stitch 
may be an inch and a half long and not left in a loop, its length supplying the neces- 
sary thread for pulling through between the two pieces of cloth. 

BAR-TACKS make a very neat and serviceable finish for the ends of seams, tucks 
and plaits, and the corners of collars, 
pockets and pocket laps of tailored 
garments. Fig. 72 illustrates the 
process of making the simple bar-tack, 
generally used as a stay for pocket 
openings. Mark the length desired 
for the tack; stick the needle through 
the entire thickness of the goods, down 
on one side, up on the opposite, and 
repeat several times, according to the 
required strength of the tack. Then 
without breaking off the thread, make 

one short stitch across one end of the long ones, and continue stitching closely all the 
way across, firmly covering the threads of the long stitches. Keep these cross-stitches 
close together, and while working, press the long stitches with the needle, to produce 
a cord-like effect. 

On garments having a finish of machine stitches at pocket openings, etc., the bar-tack, 
with small bars crossing the ends of the plain bar, is more ornamental. (Fig. 73.) The 
process of making is similar to that of the simple bar-tack, with small 
bars worked in after the long one has been finished. 

ARROWHEAD TACKS are used at the top or bottom of plaits and 
laps and at the ends of seams and pocket openings. (Figs. 74,75, 76, 77.) 

First make an outhne of the arrow with chalk or pencil. Bring 
the needle up at point A, then take a small stitch at point B as 
shown by the position of the needle in Fig. 75. Bring the needle 
down at point C (Fig. 76), up very close to point A along the hne 

21 




[iimilit - 



Fig. 72. Making a Bar-Tack 



Fig. 73. Barred on Ends 




Fig. 74. Arrowhead 



22 



THE DRL55MAKLR 



CA (Fig. 76), and take another stitch at point B close under the first one, and down 
very close to point C along the line CA. (Fig. 77.) The needle must go in on the chalk 
line BC and come up on the chalk line BA, keeping the outline of the triangle. Each 
successive stitch below point B will be a little longer than 
the previous one. Repeat this stitch until the entire 
space is filled. The finished arrowhead is illustrated in 
Fig. 74. on the preceding page. 

THL CROW'S-FOOT 
TACK is the most ornamen- 
tal of the fancy tacks ordi- 
narily used at the ends of 
pocket openings and seams. 











/' 


\ '\ 


~- -=^= ._ 


"^ - 


— *! ~i~ 


/ 


i 






Fi$. 75. Outline of Arrow- 
head 

It is illustrated in Fig. 78, 
with the detail of the 
stitch in Figs. 79 and 80. 

Outline the tack with 
chalk or pencil. The dotted outline seen in Fig. 79 shows 
the correct design for the tack. Bring the needle up at 
point A, pass it down at B, and up again at B outside of 



Fi§. 76. Second Movement 




Fig. 77. Third Movement 



and close to the stitch in line AB; then down at C, up at 

C outside of and close to the stitch in line BC, and down at A just outside the stitch in 

line AB, as illustrated in Fig. 79. Now bring the needle up on the dotted line AC out- 





fit. 78. Crow's-Foot 



A C 

Fig. 79. Detail of Crow's-Foot 




Fig. 80. Second Movement 



side the stitch on line AC close to A; pass it down on dotted line BC outside the stitch 
on line BC close to B; up on dotted line AB outside both stitches on line AB close to 
B; down on dotted line CA outside the stitch on line CA close to C; up 
on dotted line BC outside both stitches on line BC; and down on dotted 
line AB outside both stitches on line AB, as illustrated in Fig. 80. Fill 
in the entire outline in this way until the completed foot looks like 
Fig. 78. It will be noticed in making this tack that all the stitches are 
taken on the dotted lines and always outside the made stitches, thus 
compressing the first stitches so as to curve the sides of the tack 
like the outline. 

For working these ornamental tacks, coarse buttonhole twist or 
twisted embroidery silk is usually employed, and it is generally the 
same color as the material. With a little practise these tacks can be 
well made, and any of them will add greatly to the finish of the garment. 
The crow's-foot is generally worked in scarlet or dark blue silk on 
the pockets of serge sailor suits. When it is used to finish the end of 
a plait in a skirt it is worked in floss the color of the dress. 




Fig. 8 1 . Chain- 
stitch 



A CHAIN-STITCH is, as its name implies, a row of stitches resem- 
bling the links of a chain. Bring the needle up from under the material, 
hold down the thread under the left thumb, and insert the needle in the 



PRACTICAL AND ORNAMENTAL ST1TCHL5 



23 



same hole. Bring it up a stitch's distance below, on the upper side of the thread, thus 
forming a loop, or link. (Fig. 81, opposite page.) 

THL FEATHERSTITCH is one of the most frequently used of all ornamental stitches, 
for it can be worked with the coarsest of yarn or the finest of silk or linen thread, accord- 
ing to the nature of the material on which it is used. It makes a most satisfactory trim- 
ming. The single, double and triple combinations are shown in Fig. 82. 

Before starting, the amateur should run a 

colored thread along the outline to mark the 

center line to be followed. To make the single 

stitch, knot the thread and then bring the 

needl<> up through the material. Hold the 

., , thread down over the 

F ! line with the left thumb. 

Insert the needle a little 

to the left of this line. 




Fig. 83. Simple D 




th Design 



Fig. 82. Featherstitching 

and take a short, slanting stitch toward 

the right, drawing the needle out 

while the thread is held down smoothly 

by the left thumb. Then hold down 

the thread on the center line and take 

a stitch of equal length on the right 

side, and draw it out as before. 

For the double combination, take two stitches to the 

left, and two to the right each time before crossing the 

center line; and for the triple combination, three stitches. 

The beauty of featherstitching depends on its evenness. 

Material may be marked for feather-stitching by a trans- 
fer pattern. Figs. 83 and 84 show ornamental designs. 

THE BLANKET-5TITCH is used to protect the edges of heavy woolen materials, and 

prevent thein from fraying. In working, do not use a knot, but secure the thread by 

one or two running stitches toward the edge. Then, holding the thread under the left 

thumb, insert the needle 
to the depth required and 
bring it up from under the 
edge, allowing the 
thread to lie beneath the 
needle forming an edge. 
(Fig. 85.) This stitch may 
be worked into various or- 
namental designs if in- 

... ^^ ,.^ oi 1 i I tended for decorative pur- 

hg. 85. 1 he Blanket- I /tt^- o/^ \ 

S,i,,i, I poses. (Fig. 86.) 





Fig. 86. Design Used as 
Ornamentation 



24 



THE DRESSMAKER 



FOR EMBROIDERED SCALLOPS the material may be marked with a stampmg pat- 
tern, which can be had in various sizes for various purposes — handkerchiefs, towels, sheets, 
table linen, etc. This marking should be half an inch from the edge of the material. In a 

penciled scallop make a 

small running stitch to 
indicate the depth. Di- 
rectly on the line run a row 
of chain-stitching which 
serves as a padding for 
the scallops. (Fig. 87.) 
The buttonholing is 
worked closely with the 
needle' inserted just above 
the line of running stitches 
and enclosing the line of 
chain-stitches. Use silk 
or cotton whichever is 
best suited to the material. The outer edge of the material is cut away close to the 
embroidered scallops after the stitching has been finished. 




Ffe. 87. Scalloped Ld§e 




Fig. 88. French Knots 



FRENCH KNOTS, which are used in embroidery for the centers of flowers, etc. 
made as illustrated in Fig. 88. After bringing the 
thread up through the material, take an ordinary 
back-stitch. Wind the thread or silk twice around 
the needle, draw it through, holding the coils down 
with the left thumb. Then insert the needle over the 
edge of the coils, in the same hole, thus making the 
knot secure. Do not cut the thread on the under side, 
but pass on to the next knot. 

THE FAGOT-STITCH is a style of hand-made trim- 
ming that is always popular and attractive. (Fig. 
89.) The simple beading stitch or any of the 
more elaborate stitches shown in the illustrations, which are very effective for trim- 
ming dainty lingerie, may also be used as a beading through which to run narrow ribbon. 
For fagoting, the design of the work should first be traced on a piece of stiff paper. 
Or, as in the case of a yoke or collar where a fitted shaping is required, a fitted pattern 
should be cut of stiff paper, and the ribbon, braid or folds of the material basted evenly in 
position following all the curves. When the fagoting is to be applied to the gar- 
ment in fancy design, and the material underneath the stitches cut away afterwards, the 
entire piece of work should be smoothly basted over paper, and the line of spacing which 

represents the fagot-stitching outlined with 
chalk or tracing cotton. 

The Simple Fagot- Stitch is done by cross- 
ing first from left to right, and recross- 
ing frorh side to side between the folds of 
the material, taking a small stitch in the 
edge. The needle in crossing each time 
passes under the thread of the preceding 
stitch, thus giving the threads a slight twist 
at the edge of the material. (Fig. 89.) 

Simple Beading Stitches are illustrated 
in Fig. 90 on the following page. To make 
the upper design, a buttonholed bar, take 
a stitch directly across the space between 
the two folds and work the buttonhole 
stitch over the thread back to the starting point. Then stick the needle into the edge 
of the fold near the hole of the first stitch, to keep the bar from twisting, and on the 
under side pass on to position for the next bar. 

In the lower design the thread is carried across as in the other case. 




Fig. 89. Simple Fagot-Stitcii 



ind, returning, one 



PRACTICAL AND ORNAMLNTAL STITCHES 



25 




Fig. 90. Simple Be, 



loose buttonhole stitch is made over the thread. Over this same loop, run two closer 

buttonhole stitches. Then make a second loose buttonhole stitch over the first thread, 

and again, as before, the two close buttonhole stitches over this loop. Catch the needle 

into the edge of the fold, and pass on to the next 
stitch. The link bar is not so difficult to make 
as it appears, and teally can be done more 
quickly than the plain buttonhole bar. 

More Elaborate Beading Stitches are shown 
in Fig. 91. The upper design is a combination 
of the link bar (described in the preceding par- 
agraph) run diagonally across the open space, 
and a simple twisted stitch run straight across 
from the apex of each of the triangles thus made. 
To make the second design from the top in 
Fig. 91, bring the thread up from one edge of 
the fold over to the opposite edge, take a stitch 
from the under side and draw the thread taut. 
Then insert the needle three-eighths of an inch 
from that point, allowing; the thread to form a 

tiny loop. Insert the needle again directly op- 
posite the last hole, and from this point make 

five buttonhole stitches in the loop. Now catch 

up the edge of the fold just where the first plain 

stitch began, and on the under side bring it over 

to the second plain stitch, and draw it up for 

the next loop. 

In the third design in Fig. 91, the thread is 

first carried across from one fold to the other 

and left rather loose. Then the thread is brought 

up through the same fold one-fourth of an inch 

from the point where it was just inserted. Make 

five buttonhole stitches in the loop formed of the 

thread in crossing, and insert the needle in the 

opposite edge. Now carry the thread over 

again to form the next loop, running the needle 

into the same hole. Bring it up one-fourth of 

an inch below this point, and continue as before. 
To make the buttonhole cross-bar stitch 

illustrated in the fourth design of Fig. 91, first 

make a buttonholed bar as described in the par- 
agraph on simple beading stitches, but do not 

draw it tight; rather let it curve a trifle. Then 

proceed as if for the next bar, but when crossing 

catch into the preceding bar at the center but- 
tonhole stitch, and then continue to the opposite 

edge. Make an even number of buttonhole 

stitches on each side on this thread. Allow a small space between the cross-bars. 

SHIRRING is made of successive rows of gatherings. It is used as a trimming. There 
are several different kinds of shirring, the use of which must be determined somewhat by 
the character of the material and the style of garment. Before beginning, it is best to 
mark the sewing lines with a colored thread, to be sure to get the rows even. This thread 
can be drawn out when the shirring is finished. 

A Simple Shirring is shown in Fig. 92 on the next page. The top edge is turned in and 
the first row shirred in close to the edge. The thread should be amply strong, with a good 
big knot at the end; for if the thread is weak and breaks, or the knot pulls through, the 
shirring will progress slowly, and the material will suffer unnecessarily in the working. 

Shirring can also be done very successfully on the machine, by using the gathering at- 
tachment. In that case it is especially necessary to mark the sewing lines before beginning, 
as the machine does the work so rapidly that one is more apt to get an irregular line. 




Fig. 91. Llaborate Beading Stitches 



26 



THE DRLS5MAKER 



rmf. 






Gaging or French Gathers, is a style of shirring 
generally applied at the back of skirts, etc., where 
a quantity of material must be adjusted to a com- 
paratively small space. (Fig. 93.) The stitches 
in this case are made evenly; long ones on the 
right side and short ones on the under side of the 
material. Each successive row of gathers has its 
long and short stitches parallel, respectively, with 
those of the preceding row. The threads are all 
drawn up evenly, and fastened at the ends. 

Tuck Shirrings should be made on the bias of the 
material. Baste the tucks in first, and then shirr 
along the line of bastings through both thicknesses 
of the material. Fig. 94 shows the tuck shirrings 

drawn up to fit over the shoulder 



Fig. 92. Simple Shirring 




The 
deter- 



hig. 93. Gaging or Freni.li Gcithors 



length of the shirring thread 
mines the curve. 

Scallops or Snail Shirrings are meant 
to be used as a band trimming. Make a 
narrow fold of the material, and run the 
shirring thread zigzag across from edge 
to edge. (Fig. 95.) As the work pro- 
gresses draw up the thread, when the 
fold will acquire a scallop edge on 
both sides. If a wider fold is used, 
two threads may be run in close 
together. This will produce a 
more even trimming and one that 
will be less perishable. 

Cord Shirring (Fig. 96), is 
made much like the tuck 
shirring. Tiny tucks are basted 
in with a cord enclosed from the 



under side. (See Fig. 96, page 27.) 
Run in the shirring thread along the 
basting of the corded tuck, and when 
the entire number of threads have 
been run in, draw up the fulness. 



SMOCKING (illustrated on two 
pages following) is a style 
of trimming particularly 
suited to children's dresses. 
It may be used in a pat- 
tern, forming yokes, etc. 
As a trimming it is sufii- 
ciently ornamental to 
make the addition of lace 
or other decoration quii 
unnecessary, and as an in 
expensive trimming it 
cannot be equaled. Deli- 
cate fabrics of cotton, wool 




Fig. 94. Tuck Shirnn 



hitled Over Shoulder 



Fig. 95. 
Scallops 



or silk are best suited for this kind of work which is clumsy in heavy materials. 
To Prepare the Material for Smocking, spread it out on a table. With a ruler 
and a lead pencil, mark a straight line of dots spaced an even distance apart. 
(Fig. 97.) Make a second row of dots above the first, placing them so that 
they form perfect squares. (Fig. 97.) Keep the lines of dots absolutely straight 
on the grain of the goods. Or the material may be marked for smocking by 




Fi$. 96. Cord Shirring 



Tl 



PRACTICAL AND ORNAMENTAL STITCHES 

a transfer pattern. Use as 
many rows of dots as the 
width of the smocking re- 
quires. But it is always a 
safe plan to mark a row or 
two less, in case a change 
should be decided upon before 
the work is finished. Then 
the material will not be disfig- 
ured by the marks. Soft, 
loosely twisted embroidery 
silk is used on silk or woolen 
materials, and the best quality of French embroidery cotton on wash fabrics. 

For the Simple Smocking, as illustrated in Fig. 98, take a thread and catch the mate- 
rial at the first dots of both the first and second 
rows; bring them together and catch the ma- 
****''***'' Icrial securely at this point with two or three 
, ,,,.» ,,♦ neatly made over-and-over stitches. Then, pass- 
, ing the thread under the material, bring the 
•••»*•••••] needle out at the third dot and do the same 
, I there. Continue down the row to the depth 

*'] desired for the smocking. 
• ^ ,,,,.* • In the second row of stitching, the alternate 

dots of the second and the corresponding dots of 
-r*~^^^ — 7^ — "^ .u J . - ^ f ' ' q " " i • t the third rows are caught together, always 

Fig. 97. Preparrng the Material for Smocking , . ^, , ^, j .u j -j ^ ^ 

keepmg the long thread on the under side taut 
but not so it will draw and making the stitches as even in size as possible. 

In Fancy Smocking the material must, of course, be marked with dots following 

the pattern decided upon. The needle is first run through each dot as for a gathering, 

drawing the material up 
in even folds (Fig. 99), 
simUar to the method of 
making French gathers. 
The Outline Stitch, as 
used in Fig. 100 is worked 
from left to right along 
the line of the gathering 
thread. The stitch is 
caught through from the 
under side of each small 
fold while the gathered 

material is held in the left hand, and brought up and over the edge of the first fold 

to the second one. A variety of arrangements can be used effectively in this way. 
The Cable Stitch, used single and double, is 

illustrated in Fig. 101. Start the thread as for 

the outline stitch, taking a stitch from left to 

right through a fold from the under or left side: 

then through the next fold, from right to left, 

and repeat. The second row is begun with the 

right-to-left stitch, thus producing a V-shaped 

arrangement of the fold. 

The double cable stitch is simply two rows 

of the cable stitch run close together. 

The Diamond Stitch is begun like the cable 

stitch. Take one stitch in the first fold, from 

left to right, with the thread below the needle. 

In the second fold, a little above the line of the first stitch, take a similar stitch. In the 

third fold take a stitch from left to right, but with the thread above the needle. This 

stitch forms the apex of the triangle. Descending, take a stitch in each of two folds 




Fig. 98. Method for Making Simple Smocking 




Fiy 94 Prei 



Material for Fancy Smocking 



28 



THL DRESSMAKER 

r; 



from left to right, keeping the thread above the 
needle. The stitch in the third fold again has 
the thread below the needle, and the line of 
stitches again begin its ascent. Continue in this 
way as far as the smocking is desired. 



5^:::^^:issA^a^ 





Fi$. 101. Cable Stitch 



Fig. 1 00. Outline Stitch 

The second row of zigzag stitches is put in so 
that the two will form a line of diamond-shaped 
figures which can be increased to any depth de- 
sired by additional rows of smocking. (Fig. 102.) 

If a yoke or pointed effect of the smocking is 
desired, it can easily be accomplished by omit- 
ting as many diamonds as necessary to make the 
points, as one proceeds with the work. 

Smocking is not in the least difficult once the method has been thoroughly grasped. 
For some reason it is much more popular in England than in the United States. Abroad 
it is used a great deal for small children on Httle dresses of the carter's smock order. 
They are very quaint and picturesque, extremely comfortable and becoming. Smock- 
ing done in colors on fine white batiste, silk mull, or nainsook makes pretty guimpes 
and dresses for children and very smart blouses for women. 




Fig. 102. Diamond Smocking 



CHAPTER V 

BIAS TRIMMING5 

BIAS BANDS, folds, ruffles, facings, etc., must be cut on a true bias to give satisfactory 
results. For rounding corners or following curved lines, or making folds or ruffles 
hang gracefully, it is impossible to use successfully material that is cut on 
the straight of the weave. To maintain a perfect bias, the strips should be of 
equal width throughout their entire length. 

Sometimes, in cutting, if the material is very 
pliable, the edges will stretch and in time the cut- 
ting line will deviate from the original mark. It 
is well, in cutting many strips, to test the bias 
line occasionally, by laying the yard-stick across 
the material, and cutting a new edge if the old 
one is not even. 

True Bias is obtained by spreading the ma- 
terial on the table and making a mark six or 
eight inches from one corner on both the selvage 
and the cut end. Lay a yard-stick across the 
corner, touching both these marks, and draw a 
line. (Fig. 103). Make as many marks on both 
edges as there are strips needed, marking them 
the required width. Then cut, carefully follow- 
ing the line and using sharp scissors. 

These instructions apply particularly to ma- 
terials having a twill, in which case it is necessary 
to have the bias running against the twill, as 
shown in the illustration, Fig. 10,3, on this page. 
Some trimmings, however, do not require such 
an elastic bias. In that case the strips of the 
material may be cut on the bias, parallel to the 

twill in the weave. c-^ ,„., »« , . ^ , „. 

„„ ^, i • , r XL u- u J • iM Fig. 103. Marking for Bias Strips 

When the material for the bias bands is alike 

on both sides, as in the case of corded silk, for instance, be careful to have the cut strips 

all on the same bias. 

To Join Bias Strips, lay the two diagonal ends together so that the grain of the 

material on the two pieces crosses on the wrong side, and baste in a seam. It will 
then be seen that when the joined strips are lapped back, 
the grain of both pieces runs correctly in the same direc- 
tion. (Fig. 104.) 

BANDS or FOLDS USED AS TRIMMING are made in a 
variety of ways. They may be lined, unlined, double of 
the material, or piped at the edges. Cut the band the re- 
quired width, allowing for a turning at both edges. 

The Unlined Fold, illustrated on the following page. 

Fig. 104. Joining Bias Strips ^^^ ^^^ ^^^^^ ^^^^ basted Up in a hem, and stitched evenly 

from the right side. The upper edge is turned over, and 

the band is then basted into position on the garment. The upper edge is stitched 

through the garment, making the one stitching serve two purposes. (Fig. 105.) 

The Lined Fold is finished before it is applied to the garment. Cut a strip of canvas 
or crinoline, as wide as the band should be when completed. Baste it evenly on the wrong 

29 





30 



THE. DRESSMAKER 



^S^T^^ ■ •' ' ^• 



105. Unlined Fold 



side of the strip of material, catching both edges 
down over it. With the catch-stitch, fasten down 
the edges to the lining, and the fold is ready for 
use. (Fig. 106.) 

The Piped Fold is one in which a cord or piping 
(see page 31) has been applied to the edges with one 
or more rows of machine stitching that give it a 
tailored finish. (Fig. 107.) 

Double Folds are made of bias strips cut twice the 



Fig. 106. Lined Fold 




Piped hold 



width desired for the finished band. Fold them over on the center line and baste them flat. 
Turn the two raw edges in and baste them together. Then join them neatly with slip- 
stitches, and apply to the garment by hand. If machine stitching is desired, baste the 
fold in place first and then stitch. These folds are frequently used as a trimming in the 
place of tucks. (Fig. 108.) 

A Milliners' Fold is made by turning the top edge of the strip over one-half the 
width of the finished fold. Bring up the lower turned-under edge, covering the raw 
upper edge. Sew flat with fine running stitches, (Fig. 109.) 

If the material is very sheer, it is a good plan to have a small strip of paper, not 




._^ 



Fig. 108. Double Fold 



Fig. 109. Stitched Milliners' Fold 
the fold as the work progresses. If 
so that the crinkles will run diagonally. 



quite the width of the fold, to slip along within 
pressing is necessary, use only a warm iron. 

Crepe folds are cut on the straight of the goods. 

Tailors' Straps are folded bands used 
to strap seams, or as an ornamental 
trimming on tailored garments. They 
may be cut on the bias, if of velvet or 
taffeta; crosswise if of woolen; length- 
wise if of cotton materials. Fold the strip 
at the center and catch the raw edges to- 
gether with loose whip-stitches as shown 
in Fig. 110. Spread out the fold and press 
it well. Baste into position on the gar- 
ment and stitch by machine on both 
edges. 

CORDING is used either to give firm- 
ness to an edge, or as a trimming for 

waists, skirts, etc. Fig. Ill, on the following page, illustrates the process of running 
in a cord intended for a trimming. Mark the trimming line for the cord with a 
colored thread. Then, holding the cord underneath with the left hand, enclose it in a 




Fig. 110. Making Tailors' 5trap 



BIA5 TRIMMINGS 



31 



tuck, stitching with fine even running stitches as close to the cord as is possible. 
In Fig. 112 is shown the cord run in a bias strip which is intended to be used as a 

facing for an edge. After the cord has been inserted, join the cording to the garment 
with the raw edge on the inside. The broad edge is then turned over one- 
quarter of an inch and hemmed down. 

PIPING is a finish much used in all styles of dressmaking. It is easy 
to make and very effective. Cut bias strips an inch and a quarter wide, 
if the material to be used for the piping is 
firm, as taffeta, etc. If a loosely woven ma- 
terial is used, the strips should be a trifle wid- 



Fi§. 111. Inserting Cord 



er. Join all the strips, as described on 
page 29, and press the seams open. Then 
fold the strip over at the center line and baste it flat, being careful not to let it become twisted. 
Next prepare the edge of the material to which the piping is to be applied. If a 
stiffening is desired, cut a lining of crinoline or canvas three-eighths of an inch narrower 
than the pattern or the piece to be lined. Baste this lining into position as shown in Fig. 113. 





Fig. 1 12. Cording for Facing 





Fig. 1 13. Crinoline Basted 
to Material 



Fig. 1 14. Under Side Showing 
Piping Clipped at Corners 




Fig. 115. Rigtit Side of 
Completed Piping 



If the edge forms a fancy outline, as illustrated here, turn the edge over evenly all 
around, clipping at the corners and folding in at the points where necessary. (Fig. 114.) 
Then run a basting thread an even width (about three-eighths of an inch) around the edge 
to serve as a guide. Next baste on the piping, following this line closely. Be careful 
to avoid any scantness at the points or bulginess at the corners. Fig. 115 shows the right 
side of a pointed edge neatly piped. 



CHAPTER VI 

PLACKLT5 




UNDERWLAR PLACKLT5 are made in the following manner. If there is no seam, cut 
the opening in the garment the desired length. It should be long enough to slip 
easily over the head. Cut for a lap a strip of material lengthwise of the goods. 
It should be twice the length of the placket opening and three and three-quarter 
inches wide. Fold the ends together and crease through center; open and fold the sides 
together and crease. Cut out one section to within a small seam of the 
crease as shown in Fig. 116. 

Baste the long straight edge of the lap to both edges of the opening, 

making a nar- 
' row seam. Run 
it almost to a 
|)oint at the 
iitwerendof the 
opening. (Fig. 
117.) Make a 
narrow turning 
on the three 
edges of both the narrow and the wide part of 
the lap. Double the wide part back (Fig. 118), 
baste the edge over the line of the sewing, and 
hem. This forms the underlap. Turn the 
narrow part back on the line of sewing, baste 
the free edge to the garment to form an under- 
facing, and hem. The end of the underlap is 
turned under, basted and stitched across. The 
finished closing is shown in Fig. 119. This placket 
It is usually employed for drawers, petticoats, etc. 

Plackets such as are made for Unlined Dresses are shown in Figs. 120 and 121, on the 
following page. These illustrate the placket 
used on skirts of unlined dresses when the 
outside sewing would be an objection. Use 
a strip twice the length of the opening and 
three and three-quarter inches wide, without 
cutting away the section as in the first method. 

The first sewing is made as in the first 
placket, then the free edge is turned under and 
hemmed close to the sewing. When this strip 
or lap is applied above the back seam of a 
skirt, it is set back an eighlh of an inch from 
the stitching of the seam. One side is ex- 
tended out to form the underlap, and the other 
side is turned under on an even line with the 
stitching of the seam. When the placket is 
closed, the entire lap is hidden as shown in 
Fig. 121. 

The Plackets jor Cloth Skirts require neat 
and tailor-like workmanship. Great care 
must be taken in handling the edges of the 



I 1 7. Underlap and Facing 5titched t 
Placket Slit in Skirt 



has an outside row of stitching. 




Fig. 1 I 8. Folded to 
Position 



Fig. I 1 9. Finished 
Placket 



PLACKETS 



33 




Fi^. 120. Inside View of Con- 
tinuous-Lap Placket 



r* 




opening. They are gen- 
erally bias, and stretch 
easily. If the upper edge 
becomes stretched it will 
bulge when the skirt is 
on the figure — a defect 
you probably have often 
noticed on other women. 
Hooks and eyes or pat- 
ent fasteners should be 
placed sufficiently close 
together to prevent the 
skirt from gaping. Any 
stitching that shows 
through on the outside 
should be done evenly 
and with a suitable 
stitch and tension. 
Otherwise the placket- 
hole will have a careless 
appearance. A placket- 
hole should be ten or 
eleven inches deep unless 

the figure is unusually large and full, 
requiring a still deeper opening. 

The design of the skirt regulates the 
position and finish of the placket. It 
may be at the center or side back, 
the front or side front. 

A Placket-Hole at the Center of an In- 
verted Plait is shown in Fig. 122. The 
placket comes under an inverted plait 
at the center back of the skirt. 

The first step in finishing the placket- 
hole of a skirt of this kind is the ba- 
sting of a narrow strip of canvas along 
each edge of the opening, with the 
edge of the canvas three-eighths of an 
inch from the edge of the opening. 



Fig. 121. 



Outside View of Continuous- 
Lap Placket 



"T^ 



/ 



hig. 122. Placket in Center of Inverted Plait 

The skirt edges are then turned back on the canvas and 
caught to it with small stitches. (Fig. 123.) Stitch the 
edges of the placket-hole and sew on the hooks and eyes 
as illustrated. Cover the canvas on the right side with 
a facing of silk. Sew an underlap of material an inch 
and a half wide, finished, to the left edge, and bind the 
raw edge of the lap with binding ribbon. (Fig. 123.) 

A Placket-Hole at the Right Side of an Inverted Plait is 
used on a skirt of heavy cloth that does not require the 
canvas reenforcement. Join the center- back seam to the 
top of the skirt and cut through the right-ha.nd crease in 
the inverted plait to the regular placket depth. Bind both 
cut edges of the inverted plait with binding ribbon or a 
binding of thin silk. This method, as you see, allows 




Inside View Showing Hooks 
and Lyes 



7HL DRL55MAKLR 




t Ml. .winy H. 



the edges of the placket-hole. 



the inverted plait to serve as a placket 
underlap. The outer left-hand fold of the 
plait should be stitched through all the 
t liicknesses of the skirt, allowing the stitch- 
ing to taper to a point. (Fig. 124.) The 
--1 itching on the right-hand side of the 
>kirt leaves the under portion of the in- 
verted plait free. Fig. 124 shows the posi- 
tion of the hooks and eyes and patent fast- 
eners on this placket-hole. 

The Placket-Hole at the Center of a Habit 
Back is practically the same as for the 
skirt with an inverted plait closed at the 
ftnter-back seam. Both edges of the 
opening are faced with canvas strips 
placed three-eighths of an inch from the 
edges which are turned back and catch- 
stitched to the canvas. (Fig. 123.) Stitch 
Sew on the hooks and eyes, taking care that the stitches 

go no deeper than the canvas, for the sewing must not show through on the outside of the 

skirt. The same care must be taken in covering the canvas on the right side with silk, 

and in sewing on the underlap. The latter should 

be an inch and a half wide, finished. It is slip- 

.<<titched to the left hand edge of the placket. Its 

free edge should be bound with binding ribbon. 

The other edge should be turned under and hemmed 

by hand to the canvas. (Fig. 125.) 

A Placket-Hole at the Side Back or Front is used 

quite frequently. So far as the construction goes 

a skirt can open at any seam. When a skirt 

does not open at the center back the placket-hole 

generally comes on a seam at the left side of the 

back or front. The placket-hole in this case is 

made exactly as in the habit-back skirt, directions 

for which are given in the preceding paragraph. 
A Placket-Hole Under a Strapped Seam is shown 

in Fig. 126. The right-hand fold of the strap is 

stitched flat to the skirt. The left-hand edge of 

the strap is turned under and stitched to itself, 

following the same line of stitching that holds 

the rest of the strap to the skirt. (Fig. 126.) 
The hooks are sewed to the left edge of the 

strap. Notice that they are set close together and a trifle back from the edge. A 

strap placket must be held firmly to keep the line of trimming absolutely straight. For 

the same reason it is just as well to add a row of patent fasteners just back of the hooks. 

The underlap should be an inch and a half wide 
and an inch longer than the placket-hole, finished. 
It should be made of the skirt material faced with 
silk or with a light-weight lining fabric. 

Lay the underlap on the under side of the skirt 
with the edges of the skirt and lap even. Join 
them with a generous seam. The depth of the 
seam will depend largely on the width of the strap. 
After stitching the seam, turn the seam edges 
back and hem them flat to the lap. The other 
edges of the lap should be bound with silk or bind- 
ing ribbon. Blind loops are used instead of eyes 
Racket Finish of Strapped Seam and should be worked on the skirt in corresponding 




• ^ I 



Finished Placket on Habit 
Back Skirt 




PLACKLTS 35 

positions to the eyes. The patent fasteners are sewed to 
the lap. (Fig. 126.) 

The Placket-Hole in a Skirt Set in the Same Belt with its 
foundation skirt is made by the same methods as ordinary 
plackets. In such an instance, the placket opening of the 
skirt is finished separately. The edges of the placket open- 
ing of the foundation skirt are turned under three-eighths of 
an inch. The right-hand edge is hemmed under the bill of 
the hooks on the skirt, and the left-hand edge is hemmed 
against the edge of the underlap of the skirt placket. 

This stjde of placket is not used as much just at present 
as in former years, when almost every skirt was made with 
either a lining or a foundation skirt. While we dispense 
with the drop skirt in all dresses of heavy materials, it is 
still used with all thin evening fabrics and with a good 
many light-weight materials such as voiles, etc. 

Wliatever kind of placket is used, one should be particu- 
larly careful to see that the hooks and eyes or fasteners are 
so arranged that they will keep the hole securely closed. Nothing looks worse than a 
gaping placket, and any woman who takes a pride in her personal appearance will pay 
special attention to this part of her dressmaking. 




127. Reverse Side of 
Underlap 



CHAPTER VII 

APRONS AND FLANNEL PLTTICOAT5 




A LL WOMEN need aprons, both for sewing and household use. For any one who has 
/\ had little experience in needlework the making of a few simple, pretty aprons will 
1 1^ make her familiar with the use of stitches and materials. 

Two sewing aprons can be made from three yards of lawn thirty-six inches 
wide. Tear the goods into three equal breadths. If the edges are uneven, pull the cross- 
wise threads into shape by stretching through the bias. From one length tear four 
strips, thirty-six inches long and six inches wide for the ties, and two lengths for the 
belt bands. The latter should be three inches wide and two inches shorter than the 
waist measure. 

Take one of the remaining large pieces and turn up a four-inch hem at one end by 
folding over a narrow turning and creasing evenly. Make a second turning four inches 
wide and crease. Baste along the line of the first turning and hem neatly with small 

even stitches, 

using fine cotton 
and a small 
needle. 

Beginning 
with the selvage, 
slope the apron 
ofif a little at the 

top to keep it from hooping up at the front. It should 
be one-half inch shorter at the center front than at the 
sides. 

Gather the top three-eighths of an inch in from the 
edge and stroke the gathers. Draw up the threads, 
making the apron two-thirds of the waist measure. Pin 
the middle of the band to the middle of the apron on 
the right side. Hold the gathers toward you and back- 
stitch to the band. Hem the ties with three-eighths-inch 
hems at the sides and two-inch hems at the ends. Lay a 
plait in the upper end making it one inch in width and 
back-stitch to the end of the band three-eighths of an 
inch from the edge, (Fig. 128). Turn the band toward the 
wrong side of the apron, turn in the raw edge three-eighths 
of an inch and hem to the gathers, covering the line of sewing. Turn in the ends of the 
band and hem them to the ties. Overhand the remaining spaces on the band. 

The apron may be finished without ties by cutting the band one and one-half inches 
longer than waist measure. Turn in three-eighths of an inch at each end and overhand 
all around. Make two buttonholes at one end and sew two buttons at the other end. 

A FLANNEL PETTICOAT or UNDERSKIRT is an excellent garment for the inexper- 
ienced needlewoman to practise on. 

Select a good pattern and cut as directed in the instructions. If the pattern allows 
for no hem, each gore must be cut about three inches longer at the bottom. Baste the 
seams, matching the notches, and backstitch them. Leave a ten-inch opening at the 
back for a placket, which can be finished with featherstitched hems as shown in Fig, 129. 
The seam edges may be catch-stitched as shown in Figs. 11 ,and 12 on page 5. 

The bottom of the skirt may be finished with a scalloped edge as shown in Fig, 87 on 
page 24. Or, the hem may be turned up on the right side, made into a French hem, and 
finished with a row of featherstitching as shown in Fig. 131. If this latter finish is de- 

36 



Ties 



APRONS AND FLANNLL PLTTICOAT5 



37 



sired, the seams must be stitched to within twice the depth of the finished hem, as illus- 
trated in Fig. 130. Clip the seam at this point to the stitching, turn the lower edges 
toward the right side and stitch the remainder of the seam. Press open, turn the hem 
to the ritrht side, baste and featherstitch. Gather the top 
if thr skiit, (II, ];iy the fulness in an inverted plait at the 
back. 

Pin the belt to the top edge, 
on the outside of the skirt 
i ^m^KKBI^S^ ^^'^^ ^^^ marks indicating the 

middle of the belt and the mid- 
dle of the skirt edge togcth- 
■ he cuds (,f tliC 'urU ex- 




Fig. 129. Featherstitched Hem 
at Placket 



130. Reversing Seam for 
French Hem 



Fig. 131. French Hem 
5kirt 



tending three-eighths of an inch beyond the hems of the placket. Distribute the gath- 
ers evenly, baste and backstitch the skirt to the belt. Turn the belt toward the wrong 
side, make a narrow turning on its wrong edge and hem it over the seam, covering the 
raw edges. Turn in each end of the belt three-eighths of an inch and finish with over- 
and-over stitches. 



CHAPTE.R VIM 

MAKING AND FINISHING UNDERGARMENTS 

ALTHOUGH there is a particular daintiness and charm about hand-made underwear, 
much fine and beautiful work may be done on the machine. The saving of time is 
' so great that when a number of pieces are to be made this method is usually 
given the preference. A few of the smaller pieces — a corset cover, chemise or a 
pair of drawers — can easily be made by hand, but the amount of work on gowns, petti- 
coats or combination garments inclines one toward the machine method. 

One must understand something of the mechanism of the machine. It must be kept 
clean and well oiled. The number of the thread, the size of the needle, the length of the 
stitch and the adjustment of the tension must be adapted to the material. No. 80 cotton 
i& the best for white work, except for tucks and hems and all outside stitching on very 
sheer and fine materials, when No. 100 or No. 120 may be used. Every make of machine 
hasa table, giving the sizes of needles that should be used with certain number threads, 
which it is wise to follow. Remember that a sewing-cotton requires a looser tension 
than silk. 

The hemming and tucking attachments are great time-savers, but many women prefer 
to gather ruffles, puffs, etc., by han"d and stroke them. 

' No raw edges of material are left at the seams in lingerie. All edges should be joined 
with veining or finished in French or felled seams. The French seam is used at what 
may be called the regular seams — those joining together the gores or the front and back 
portions of the garment. A felled seam is used to piece the material in cutting un- 
usually wide garments — drawers, for instance. 

Both the felled and the French seams are illustrated and explained in Chapter I, 
''Sewing Stitches." 

THL PETTICOAT is a simple garment for the beginner on the sewing-machine to 
undertake. With dress skirts that fit snugly about the hips, the fit of the undergarments 
is an important matter. 

Select a good pattern, in five or seven gores. A seven-gored pattern is preferred for a 
stout figure, as it gives two more seams for fitting. 

For Cutting, arrange the pattern pieces economically on the material, following the 
instructions carefully. Allow a two and one-half inch hem if it is not provided for in 
the pattern. 

Baste the gores together with a three-eighths of an inch seam. In basting a petti- 
coat always begin at the top with small, close stitches, for the greatest strain in fitting 
comes at the waist and hips. Below the hips the basting stitches may be larger. Be 
careful not to stretch the bias edge of the gore, as this is often the cause of the seams 
not being put together correctly. 

Try on and make any necessary alteration in the fitting. Stitch one-quarter of an 
inch outside of the bastings. Remove the bastings and reverse the seam, stitching a 
second time where the first row of bastings was made, making a French seam, as shown 
in Fig. 15 on page 5. 

The Placket is made at the back with a continuous lap three-quarters of an inch 
wide, finished as shown in the process of making on page 33. 

The Belt should be three-quarters of an inch wide and three-quarters of an inch 
longer than the waist measure, to allow for the usual lap. That is, cut the strip length- 
wise of the goods two and one-quarter inches wide and one and one-half inches longer than 
the waist size. Measure off on the belt the amount allowed for the underlap, dividing 
the remainder in half. Pin the belt to the wrong side of the skirt with its center to the 

38 



MAKING AND FINISHING U N DLRGARM ENT5 



39 




Fig. 132. A Circular Yoke Fitted to a Large Waist 



center of the front gore. Hold the petticoat very easy while basting over the hips, 
and arrange the fulness at the back according to the pattern instructions. 

Instead of a belt the skirt may be finished at the top with a narrow bias facing which 
allows it to drop below the waistline The fulness is laid in plaits at the back and the 
bias facing is basted to the right side of the skirt, turned over to the wrong side and 
stitched down by machine. The method for applying a facing is shown in Fig. 137. 

A Yoke which insures a better fit to the outer skirt is often used instead of a belt or 
facing on un- 
derskirts and 
drawers. The 
yoke pattern 
should be 
bought by the 
same measure- 
ments as the 
skirt. If the 
waist and hip 
measure are 
disproportion- 
ate, order the 
pattern by the 
hip measure- 
ment nearest your own and alter it at the waistline. The yoke patterns are cut in one 
piece, either with or without darts. 

The yoke may be fitted by the darts if there are any. In case there are none, cut a 
trial yoke from coarse cambric before cutting out the real garment. Mark the center 
front with a colored thread and fit the yoke. If the waist is too small, slash the yoke 
down from the waist wherever necessary and pin a piece of cambric at each slash to 
hold it to the correct size as shown in Fig. 132. Use this fitted yoke as a pattern from 
which to cut the real yoke. Do not alter any of the notches in the lower part of the 
yoke, as the changes at the waistline do not affect the construction of the rest of the 

garment. 

If the waist measure is smaller than that of 
the pattern, pin little darts into the cambric 
yoke to make it fit. This process will repay 
the slight trouble involved by giving a smooth 
and comfortably fitted garment. Two pieces 
^^ -Tr-\ should be cut from muslin by the yoke pattern, 

^''^ ^~~^ one to be used as a facing or lining. 

' ■ If the yoke is not provided in the pattern, 

measure down from the waist to yoke depth 
and cut off the top of the skirt, making the cut- 
ting three-quarters of an inch above the lower 
edge of the yoke. 

A Silk Petticoat may be finished at the top by 
a method which dispenses with a placket. (Fig. 
133.) The entire upper edge of the skirt is 
finished with a bias facing. Stitch the facing to 
the skirt with the seam on the wrong side, turn 
the facing over and stitch directly on the edge; 
the remaining edge is turned in and stitched 
down flat. At the back, where the fulness commences, cut a slit in the skirt at each side. 
The slits should be worked like buttonholes. Insert a tape or drawstring through 
one buttonhole and draw it over a short distance beyond the buttonhole on the oppo- 
site side. Tack it firmly. A second tape is put through the buttonhole near the last 
tacking and brought out through the one on the opposite side, where it should be tacked 
firmly just beyond the buttonhole. (Fig. 133.) 

The Hem is turned up at the bottom, or a narrow ruffle is put on as shown in Figs. 38 
and 39 on page 11, making the skirt three-quarters of an inch longer than the desired 



p00^'" 



H 



I i 



f 



Method of Finishing Skirt without 
Placket 



40 



THE. DRL55MAKLR 



length. Gather the ruffle, quarter it, and stroke the gathers. Measure up from the 
bottom of the skirt the exact depth of ruffle and crease, folding in the right side of skirt. 
Insert the ruffle and stitch three-eighths of an inch from the crease. Fold the tuck 
back and make a second stitching along the fold. This uses up the three-quarters of an 
inch which was added to the length of the skirt. 



DRAWERS are finished at the lower edge first. 

material 




Fig. 134. Facing on Open Drawers 



A gathered ruffle of either the plain 
or embroidered edging makes a 
pretty trimming. It may be added in either 
of the ways shown on page 11. The depth 
of the hem, ruffle, etc., must be considered, 
in measuring the length. If a row of insertion 
is desired at the head of the ruffle, the hem 
may be omitted and the insertion applied to 
the edge of the material with a French seam. 
The ruffling is joined to the insertion also in a 
French seam. If tucks are to be used as 
trimming, cut the drawers sufficiently long to 
allow for them. One-eighth inch or finer 
tucks in clusters of three or five are effective, 
either with or without an insertion of lace or 
embroidery between the clusters. All the 
edges are joined in felled seams. 

Open Drawers are made with the seam run- 
ning from the front belt to the back, not 
joined, but hemmed or faced, as the pattern provides. If a facing is applied, stitch it to 
each leg portion from the waist to the front around past the joining seam, easing the 
facing on the curve, and continuing it up the back edge to the waist. Turn in the free 
edge of the facing and hem it to the inside of the garment. The manner of applying 
the facing is shown in Fig. 134. 

At Fig. 135 is shown a pair of drawers that can take the place of a short petticoat, as 
they are cut in circular shape and fall quite full about the knees. The material is 
fine nainsook, long-cloth or French cambric. The yoke is circular in shape, and 
should be fitted to the figure as shown in Fig. 132 on page 39. 

The lower edges of the drawers are 
turned up in narrow hems and the lace 
edge is inserted in the manner shown in 
Fig. 34, page 10. The lace may be fulled 
very slightly by drawing the strong 
thread which will be found in the top 
edge of nearly all laces. This will keep 
the lace from hooping; at the same time 
it is not full enough to look like a ruffle. 
Or, the lace edge may be whipped on to 
the edge of the hem by hand. 

The rows of lace insertion are then 
applied in even rows. Measure with a 
notched card as shown in Fig. 24, page 
7. Baste close to the edge of inser- 
tion. Turn to the wrong side and cut 
the material to within a narrow seam 
of the bastings. Turn in a very narrow 
hem which must come exactly under the 
edge of lace so that the work may be 
turned to the right side and the lace 
stitched on by machine, at the same 

time sewing in the narrow hem. Anillus- '-'^^''"^^x^'S!-''^'^' .y ^ .^^iti**-''^'''* ^» 

trationof this method is given in Fig. 135. F.g. 135. Circular Drawers on Fitted Yoke 




MAKING AND FINISHING U N DLRGARM LN T-S 



41 




Fi$. 136. Yoke Sewed to Drawers 



If the ruffle at the lower edge of the garment is straight, the lace edge and insertion 
may be applied as illustrated in Figs. 3-4 and 35, on page 10. There are different ways 
of fitting the drawers at the waist. They may be sewed like a petticoat into a band, or 
they may be set into a yoke. Gather the top of the drawers according to the instruc- 
tions given with the pattern, and stroke the gathers. The right side is lapped across 
the left at the front. The center front of both the yoke-pieces is marked with a colored 
thread, and the lower edge of one yoke is basted in a seam to the gathered top of the 
drawers, matching the notches in both and making the seam toward the outside. The 
garment may then be tried on, to see if the distribution of the gathers is correct. 

The drawers portion may 
^.'::^^s need raising a little into the 

yoke at either front or back 
to insure a better fit. After 
any needed alterations are 
made, the seam is stitched. 
The second piece is then 
placed even with the one 
joined to the drawers, but 
toward its wrong side — that 
is, the inner side of the gar- 
ment— and a seam is stitched 
around the top or waist edge 
that will hold the two yokes 
together. The one on the 
inside (that has not been seamed to the drawers) is then turned over toward the. outside, 
covering the top of the seam just made. Its lower edge is turned under a seam's width 
and is basted and afterwards stitched on, on the outside, to cover the seam joining the top 
of the drawers to the first yoke. This process may be readily understood by examining 
Fig. 136. 

Drawers are sometimes fitted with darts instead of a yoke. In this case the darts are 
closed with felled seams, and the plaits laid in the back to hold the fulness in place are 
often stitched down a short distance on each fold edge. The waist edge of the drawers 
is finished with a bias facing. Fig. 137 illustrates the upper portion of a pair of drawers 
showing the first row of stitching. Clip 
the seam at the curves, turn over the 
facing and stitch at the top and bottom, 
as shown at the right-hand side of the 
illustration. The drawstrings or tapes 
are put in, one on each side, and sewed 
firmly. Or, the drawers may be fastened 
by a button and buttonhole. If preferred, 
the fulness, instead of being laid in a 
plait, can be gathered by the drawstring. 
Insert the tape and fasten the ends se- 
curely where the gathers begin. 

Drawers cut in this way are not at all 
difficult to fit. There is just one point 
that needs the same care in these gar- 
ments as in the skirt, and that is the ad- 
justment to the figure that has very full abdominal development and is flat at the back. 
In such a case, if the drawers are cut exactly by the pattern, they will draw from the back 
to the front. If the waistline of the drawers is raised a little in the back, to counteract 
this tendency the entire garment will be made shorter. The correct way is to allow an 
extra inch or two at the top on the fronts in cutting, tapering the allowance away to 
nothing just over the hip. In patterns for the larger waist measures a moderate 
allowance is made at the abdomen, but when the development is unusuallj' large, it is 
better to make a still greater allowance in cutting. 

For Closed Drawers, cut the slits at the side like the pattern and finish with a con- 
tinuous placket. The two parts are seamed together with a flat-fell and the top is gath- 




Fig. 137. Facing at Top of Drawers 



42 



THE DRLS5MAKLR 



ered. The lap at the front of the opening is turned under at the joining, and the 
one at the back extends out to form an underlap. The bands or yokes are attached 
in the manner illustrated on page 41. A button and buttonhole is used for fastening the 
front of the drawers to the back. 

If worn with a waist, buttonholes only are needed in the ends of the bands, and at the 
center front and center back. 




Fig. 138. Hand Embroidered Corset 
Cover 



CORSET COVERS have the widest range of design 
and style among undergarments. They should be 
carefully planned as to material, trimming, and design, 
for they often serve as a slip under a thin waist. 

For a stout, short-waisted figure a pointed neck both 
back and front will be found more becoming than a 
round outline. Ruffles extending across the front of 
the corset cover will give a good figure to a slight per- 
son and serve to hold out the blouse. This style of 
cover usually closes at the back. The pattern is perfo- 
rated for the position of the ruffles. Corset covers can 
very easily be made by hand, and they are extremely 
dainty, pleasant handwork. 

Hand-made underclothes are steadily gaining pop- 
ularity with the general use of French underwear. Its 
very simplicity expresses refinement and elegance. 
Very narrow tucks, insets of lace, and motifs of hand 
embroidery are used as trimming. 

A dainty corset cover may be made of either nain- 
sook or cambric. The under-arm and shoulder seams 
are put together with veining or stitched with a French 
or felled seam. If a peplum is used it is fitted like the yoke of drawers. Gather the 
corset cover at the waist as directed in the pattern instructions, and sew it to the 
peplum in a French seam. Or, the seams may be turned from the inside and a narrow 
bias strip basted on, and stitched over the seam. This bias seam is hemmed over as a 
narrow facing. If preferred, the waist may be gathered into a strip of beading and sewed 
on in a French seam. The bottom edge has a 
narrow hem. 

Finish the neck and armholes with embroi- 
dered scallops as shown in Fig. 138. Buttonhole 
tiny slashes for the ribbon draw-strings. A few 
sprays of flowers scattered over the front or a 
monogram in hand embroidery makes a pretty 
trimming. Medallions may be purchased and 
applied if the hand embroidery seems too labor- 
ious. Valenciennes insertion inset in the fronts, 
combined with a little embroidery in a fancy 
design, makes a dainty trimming. Severnl 
methods for applying laces, etc., are given in 
Chapter XV, "Unlined Waists." 

If a plainer corset cover is desired the top is 
hemmed and beading and lace overhanded to it 
as a finish. A very narrow bias facing is basted 
around the right side of the armhole, stitched, 
basted over on the wrong side and stitched again. 

Care must be taken in basting on the bias strip to give plenty of ease around the curve 
of the armhole so that it will not draw when turned over. The lace edge should be 
sewed on the armhole after it is faced. 




Fig. 139. A Chemise Nighlgown 



COMBINATION GARMENTS dispose of much of the useless material about the hips 
and waist, are excellent for stout figures, and give a better fit to the one-piece dress. 

If the corset cover and skirt are cut in one, the garment is basted and carefully fitted 
and stitched in French seams. If cut separately, each is fitted and then basted to- 



MAKING AND FINISHING UN DLRGARM LN T5 43 

gether with the scam toward the outside, which is afterwards covered with narrow bead- 
ing. The skirt is closed directly in line with the closing of the corset cover. The skirt 
opening is made the necessary length and finished like the placket for underwear, which 
is shown in the process of making on page 32. 

NIGHTGOWNS may be made of cambric, nainsook, long cloth, dimity or cross-bar 
materials, and trimmed with lace, embroidery, or a touch of handwork. The parts 
are joined by French seams and a hem turned up at the bottom. 

The Chemise Nightgown slips over the head and may be gathered into a fitted yoke or 
finished with an insertion or beading. (Fig. 139.) It may also be gathered into a binding of 
sheer lawn, trimmed in any pretty fashion. The binding should be about three-quar- 
ters of an inch wide after it is joined. The ribbon is run through it instead of through 
a beading. If desired, beading or narrow insertion may be used for attaching this 
binding to the gown. Beading is inserted between the turned-in edges of the binding 
and all three edges held together with one row of stitching. The beading is then joined 
to the garment in a tiny French seam. The ends of the binding are made to meet in 
front so as to form openings through which the ribbon is passed. 

In a High-Neck Goion the opening is cut as directed in the pattern instructions. The 
edges are usually turned under for hems, the right lapping over the left and machine- 
stitched across the bottom. Another kind of finish for the neck is a strap, yoke-shaped 
to fit the neck of the gown smoothly. It gives a simple method of closing, one side en- 
tirely covering the other. The strap may be trimmed with feather-stitching or hand em- 
broidery. When the yoke is not lined, the outer edge is turned under in a narrow henj, 
A buttoned through closing is better for this style than the fly. The neck decoration is 
usually repeated in the sleeve. 

The Sleeves are gathered twice at the top. Baste the seam in the armhole with the 
seam toward the outside and stitch close to the edge. Now turn the seam and stitch 
again, having the finished seam at the inside of the garment. Care must be taken that 
the gathers are evenly distributed between the notches of the pattern, and drawn 
down straight from the first stitching. 



CHAPTLR IX 

INFANT5' CLOTHL5 



AN INFANT'S WARDROBE should be characterized by extreme daintiness of mate- 

/\ rials, trimming and workmanship. Baby clothes are not subject to sudden 

* V, changes of style, but there are improvements instituted from time to time, 

primarily with a view to insuring greater comfort to the child in the wearing of the 

garments and to making the process of dressing an infant a less tedious operation. 

Buttons and buttonholes are not desirable, except 
on the dresses, slips and outer garments. 

SHIRTS should be made either of softest baby 
flannel, or of fine linen, nainsook, etc. Every stitch 
should be made by hand. 

In the Flannel Shirt it is necessary to exercise 
great care in finishing all of the seams, hems and 
turnings as flatly as possible, as otherwise they are 
likely to render the child uncomfortable. The 
shoulder and under-arm seams should be pressed 
open, after 
stitching, and 
both seam 
edges catch- 
stitched on the 
inside of the 
garment. 

Double turn- 
ed hems are f re- 
quently dis- 
pensed with on the front and lower edges of shirts. 
In some cases the flannel is turned only once and a 
loose buttonhole or crochet- stitch in soft Saxony 
wool or silk floss is made over the edge. This 
finish is shown in Fig. 140. 

A Lineal or Nainsook Shirt is made with 
felled seams. The front and lower edges are finished 
with a hem, and the 
neck and armholes 
with narrow bias fa- 
cings of the material. 
Around the neck the 
facing serves also as 
casing for the drawstring 




Fi^. 140. Flannel Shirt with 
Crocheted Fd^es 





Fig. 141. An Infant's Linen Shirt 



If fine lace is used as trim- 
iiing, the armhole edges are not faced, but are merely 
rolled and the lace is whipped to them. (Fig. 141.) 

A FLANNEL BAND for an infant is shown in Fig. 142. 
It is of flannel twenty-seven inches long and about six 
inches wide. All the edges are turned over on the outside, 
one and a quarter inches and catch-stitched. (Fig. 142.) 

A PINNING BLANKET or BARRIE-COAT is used in place of the flannel petticoat. 
After the skirt portion is cut, the front and lower edges are turned in hems and feather- 
stitched on the outside. (See Fig. 143 on the following page.) 

44 



A Flannel Band 



INFANTS' CLOTHLS 



45 




th Tie Lnds 



The body is cut from fine cambric, and though the edges may be bound or faced, it is 
better to make the body double. Join the shoulder edges of both the outside and inside, 
and press the seams open. Lay the two body portions evenly together, with the 
shoulder seams of both toward the outside. Stitch a seam around the upper edge 
and across the lower edge to the notches. The ends are left open until the tape is in- 
serted. The body is stitched between the notches after the skirt is joined to it. After 
they are stitched, the two body 
parts are turned to bring the 
seam edges inside. The edges at 
the pointed ends are turned in 
and the end of the piece of tape 
is slipped into each opening. 
Gather the skirt and join it to 
the body as shown in Fig. 143. 
Baste around the armhole about 
one inch from the edge to keep 
the two portions evenly togeth- 
er. Clip the raw edges and turn 
one in a seam's width and baste 
it; then turn the other edge in 
and baste it to the first. Stitch 
by machine or overhand the two 
folded edges together to finish 
the armhole. The edges of the 
body portion should be basted and then featherstitched. Baste about an inch each side 
of the perforations that indicate the opening to be made at the left side. Cut through the 
perforations and bind the opening with soft ribbon or silk tape. If preferred, the skirt 
may be mounted on a straight band, made double, instead of on the shaped body. The 
straight band can be lapped and hemmed. 

AN INFANT'S PETTICOAT is finished according to the material of which it is made. 

The Flannel Petticoat has the seams stitched and finished as shown in Figs. 11 or 12, 

on page 5. The bottom of the skirt may 
be embroidered in scallops, or the hem 
finished as shown in Fig. 131, page 37. 

A flannel petticoat which hangs from 
the shoulders and has no separate body 
or placket is shown in Fig. 144. It is fas- 
tened on one or both shoulders by rib- 
bons or buttons and buttonholes. The 
neck and armholes of this style of petti- 
coat are usually bound with ribbon or 
tape, though a scalloped edge worked 
with white embroidery silk makes the lit- 
tle garment much prettier. If it is to 
be embroidered do not cut out the neck 
and armholes, but mark the outline of 
the pattern with a colored thread. The 
design can then be stamped along the out- 
line and cut out after the embroidery is 
done. 

c .. , 11 CI 1 Qi - . /-I ■ ^ iu cu ij The under-arm seams are finished in 

Fig. 144. Flannel Skirt, Closing on the Shoulders ., , ,. -^u i. u ^-^ u 

the regulation manner with catch-stitch- 

ing or featherstitching before the embroidery is begun. 

The Nainsook or Cambric Petticoat is finished in French seams. The lower edge of the 
skirt may be finished with a deep hem or with tucks, insertibn and edging. The upper 
edge is gathered with fine stitches and joined to the body after the placket has been 
hemmed with a very narrow hem on one side, and one three-quarters of an inch wide on 
the other. Lap the wide hem nyrv the narrow (Fig. 145), and tack firmly at the bottom 




46 





Fig. 1 46. Petticoat Joined to Single Body 



Fig. 145. Hemmed Placket 




THE DRESSMAKER 

of the placket with 
two rows of machine 
stitching, preferably- 
running slanting. 

The body is either 
cut single and faced 
at the neck and arm- 
hole after the shoul- 
der and under-arm 
are joined in a 
French seam (Fig. 
146), or cut of two 
layers of cambric, 
one serving as the 
lining. (Fig. 147.) 
If a single body 
is used the seam 
joining the body 

and skirt is made toward the inside. A bias strip of cambric 
is placed next to the petticoat in the same seam, which is then 
stitched, turned over and hemmed to the body. 

If made double, stitch the under-arm seams of both outside 
and lining; place the right sides of the material 
together and stitch all except the lower edge 
and shoulder seams. Clip the curved edges, 
turn the body right side out and crease along 
the sewing line. It may be stitched again on 
the outside to strengthen the edges and hold 
the scams in position. The top of the petti- 
coat is gathered and basted to the lining with 
the seam toward the inside. Turn this seam 
up on the body; turn in the edge of the out- 
side piece and stitch it over the gathers, cov- 
ering all previous stitchings. The shoulders 
are stitched in a fell seam. 

A SLIP is invariably made very plain and 
loose, of fine, sheer Persian lawn, nainsook or 
dimity. It should be put together with nar- 
row French seams. In the model shown in 



Fig. 147. Petticoat Joined to Double Body 



Fig. 148, the neck is finished with 
a bias binding. A narrow tape 
is run through the binding so that 
the neck can be drawn up to the 
right size when the slip is worn. 
Make an eyelet in the outside of 
the neck-binding just in front of 
the underlapping hem. Pass the 
ribbon through this opening so 
that it will meet the other end that 
comes from the opening of the 
overlapping hem. 

The neck and sleeves, which 
should be gathered into narrow 
bands at the bottom, may be 
edged with a frill of lace. The 
back is cut down through the 




Fig. 148. Binding at Neck of Slip 



INFANTS' CLOTHES 47 

center to the depth given for the opening in the pattern instructions. Each edge of 
the opening is finished with a tiny hem. A plait is then made deep enough to brin- the 
opening back one-half inch from the edge. It is held in place by a slanting row of stttch- 
ing at the end of the opening. (Fig. 149.) 

THE. KIMONO or WRAPPER is a very practical garment and 
may be made of flannel, cashmere or any light-weight woolen 
material. A very pretty little garment may be made of French flan- 
nel, dotted or plain, with a shaped band of contrasting silk or flan- 
nel. (Fig. 150.) 

The garment is collarless, and the neck and front edges as well 
as the sleeves, are finished with shaped bands. The band is basted 
to -the inside of the wrapper, along the neck and front edges 
After It IS stitched on, the band is rolled over on the outside of the 
wrapper and basted in such a manner that it extends a trifle 
beyond the joining seam. The other edge of the band is turned 
in and basted flat to the material and is held in position by a simple 
featherstitch. When a straight band is used, one long edc^e is 
j oined to the wrap- ^ 

per with the seam 
toward the out- 
side; the other 
edge is then turned 
under and basted 
over the seam as shown in Fig. 1,51. 

French knots and various fancy 
stitches, scallops or little trailing vines 
of embroidery can be used very effect- 
ively in the trimming of these wrap- 
pers. Silk or satin ribbon may be 
used for the straight band. Some of 
these kimono wrappers are lined 
throughout with soft India silk. The 
wrapper design mentioned above is per- 
forated in the correct length for a house 
sack. This convenient little garment 
is made like the wrapper in every par- 
ticular, except the length. 

A dainty little sack is made of white 
hcnrietta lined with pale pink India silk. 




Fig. 149. Finish at 
Closing 





'--JO 



Fig. 151. Attaching 
Straight Band 



Both the outside and lining portions are cut exactly alike, the 
seams stitched and pressed open. The sack and lining are then 
basted together, with seams turned toward the inside. The 
sleeve portions are gathered separately at the top. Sew the out- 
side material of the sleeve in at the armhole. Turn the raw 
edge of the sleeve lining under, gather it and hem to the arm- 
hole. A tiny turnover collar may be added with the same kind 
of finish. The edges of the sack may be turned in and secured 
with a row of featherstitching, or they may be buttonholed 
together by a scalloped edge. Both finishes are shown in Chapter 
IV "Practical and Ornamental Stitches." 

THE DRESS is made practically in the same way as the slip. 
Nothing but the finest material should be used, batiste, nainsook 
or sheer linen. Simple designs with a few hand-run tucks, a bit 
of embroidery, featherstitching or drawn -work make a far 
daintier gown than heavy material, lavishly trimmed with lace 
or machine embroidery. There are many excellent patterns for 
baby dresses, and one who has the time and taste to spend on 
the layette will find it a fascinating occupation. 



48 



THL DRL5SMAKLR 



A Dainty Yoke may be made by over-handing alternate rows of lace insertion and em- 
broidery together. Fine tucking rolled and whipped to lace insertion, also makes a pretty 
yoke. Narrow veining or hemstitched beading as shown in Fig. 152, joins the yoke to 
the dress. It is rolled and whipped on, or sewed in a tiny French scam. The shoulder 
seams are joined by beading, which is also used as a finish for the neck and sleeves. 

If the Skirt is made of flouncing with an embroidered or hemstitched edge, the fulness 
under the arm is usually disposed of in an 
inverted plait. This plait takes the place of a 
gored seam and enables one to keep the out- 
lines at the bottom perfectly straight. The 
edges are joined at the back to a convenient 
depth for the opening and a placket is finished 
as shown in Fig. 148. 

In Cutting a dress from any plain material, 
follow the instructions on the pattern. The con- 
cealment of the back seam is usually arranged 
for under the plait. The edge may be hemmed 
by hand, tucked or ornamented in any way 
desired. The placket opening is cut and fin- 
ished in the center of the back piece. 

Some of these patterns are arranged so 
that the material may be cut with a bias seam 
under the arm, if it should be desired, which gives the garment a curved lower edge. 




52. Yoke for Infants' Dress 



THL CLOAK and OUTDOOR GARMENTS are made more or less elaborately according 
to one's taste and needs. White is generally used and daintiness and simplicity are the 
most desirable characteristics. In summer, pretty little cloaks are made of pique and hen- 
rietta. The lower and front edges may be hemmed by hand or held in place by feather- 
stitching on the outside, or the hem may be stitched by machine. The same finish is 

carried out at the neck and wrist. The 
buttonholed edge is a suitable finish for 
pique. 

Even for colder weather henrietta may 
still be used with a warm interlining. 
Bedford cord and broadcloth make ex- 
cellent coats. Wool wadding or a soft 
flannel are best for the interlining. It 
should be cut without the seam and 
hem allowance Instead of making the 
regular seam, draw the shoulder and 
under-arm edges together with a loose 
overhand or ball-stitch, making them 
lie perfectly flat. The outside of the 
coat IS turned under at the bottom and 
catch-stitched to the interlining. 

The Lining is cut like the outside and 
seamed in a regular seam, which is 
afterward pressed open. Place the 
seams toward the inside and baste the 
lining to the coat. The lining at the 
bottom of the coat should be one-half 
inch shorter than the coat after its lower 
edge has been turned up. (Fig. 153.) 

Place the lining in the sleeves; gather 
sleeve and lining separately at the top. 
Stitch the sleeve in the coat leaving the 
lining loose. (Fig. 154.) Later it is 

hemmed down over the stitching of the 

Fig. 153. How Lining and Interlining Are Used armhole. 




INFANTS' CLOTHLS 



49 



The Collar is made unlined, with a facing of the lining material. It is stitched to the 
neck of the coat, and the lining of the coat hemmed against this stitching. If the coat 
has a cape it is sewed on like the collar. The edge of the collar, the wrist and the 

cape may be trimmed with fancy braid, lace or 

handwork. 

The cloak is preferably lined with soft China 
silk, and if wool wadding is used, the wool is 
picked away from the cheese-cloth around the 
seams to avoid bulkiness at these points. 

LITTLL 5HOES and SLIPPERS made of a 
washable material are a pretty part of the lay- 
ette. The pique or other material is cut accord- 
ing to a slipper pattern, following the directions 
given on the pattern envelope. The sole is cut 
from silesia or some other stout lining fabric. 
The sole and upper part of the shoe should be 
lined with flannel. The outside material and 
the flannel lining are seamed separately and the 
seams pressed open. They are then basted 
together with their edges even. The upper and 
lower edges of the slipper are bound with a 
bias seam binding. The upper part and the 
sole are overhanded together on the wrong 

side and the shoe is turned right side out. The ankle straps are lined with cambric. 

Work the buttonhole in the right hand sti-ap of one slipper and in the left hand strap 

of the other. Flat bows run through tiny buckles, or rosettes of baby ribbon, can be 

used to trim the bootees. 




54. Detail of Sleeve Lining 



CHAPTER X 

CHILDRLN'5 CLOTHL5 



CHILDREN'S CLOTHL5 should be made very simply. Use a good quality ma- 
terial and suitably childish colors. The one-piece dress is an accepted style 
for small boys and girls, and can be made of wool, linen or cotton materials. 
Directions for finishing dresses made of sheer materials will be found in Chapter 
IX, "Infants' Clothes." For instructions on the making of a sailor or naval suit, see 
Chapter XI. 

THE RUSSIAN DRL5S has a side-front closing, and the buttonholes may be made 
through the material or in a fly applied underneath the over- 
lapping edge. Patterns for this style of garment are to be had 
either with or without plaits. A good design for little folks 
is a perfectly plain dress confined at the waist with a belt of 
leather or of the dress material. An inverted plait is sometimes 
allowed at the under-arm seams, which gives extra fulness to 
the skirt. The neck and wrists, and sometimes the closing 
edges, are usually finished with narrow bands. 

A Plaited Design is very becoming to little girls. The front 
and back portions of the dress are laid in plaits which are 
stitched only to the belt hne. The closing is arranged under one 
of the plaits, either at the front or back. Before cutting out. 



Fig. 155. Stitching on Box 

Plait Finished with 

Crow's-Foot 



place the front and back of pattern on the 
material, and if piecing is necessary, plan to 
have the joining concealed under a plait. 
Mark all perforations and notches plainly 
on the material. To make the box plaits, 
bring the lines of perforations together; baste 
and stitch through them. Bring the cen- 
ter of the plait over the line of stitching 
and spread it to form a box plait. Baste 
the plait in position along both folds and 
stitch it down, if desired. A crow's-foot 
(Fig. 155) worked at the end of each row 
of stitching may be used. The method of 
making a crow's-foot is given in Chapter IV, 
"Practical and Ornamental Stitches." 

The Closing, cut under a plait and fin- 
ished with laps for buttons and button- 
holes, is shown in Fig. 156. The slash for the 
opening was made under the plait a seam's 
width from the sewing. The laps are made 
double, and when attached should be a little 
narrower than the plait which covers them. 
By referring to the illustration, the method 
of joining the laps to the edges of the open- 
ing will be readily understood. 

A Buttonhole Fly is provided in some patterns by a hem allowed under the plait. The 
edge is turned under once, and basted as for a hem, but not stitched. The raw edge 
is not turned in a seam, but is inserted in the box plait and secured with the one stitch- 

50 




Fig. 156. Laps Finishing Closing Ldges 



CHILDRLN'5 CLOTHES 



51 




ing. (Fig. 157.) If the hem is not allowed on the pattern 
the edge is brought over to the line of perforations, where 
t is basted and stitched. The center of the plait is 
brought over to the Hne of stitching forming the box 
plait, and is then basted in position. To the raw edge 
under the plait, stitch a lengthwise strip of material cut 
to extend to within one-quarter of an inch 
of the outer edge of the plait, to form the fly 
for the buttonholes. Hem the free edge of 
the strip against the line of sewing. In- 
structions for the most suitable finish for 
each garment will be found on the pattern. 
The button side of the garment can be fin- 
ished with a hem or an underlap. (Fig. 158.) 
A Yoke can be joined to the front of a 
dress as shown in Fig. 159 on the following 
page. Cut the yoke and turn the edge 
under a seam's width, clipping the edge 
where necessary to make it lie flat. Baste 
the yoke over the top of the front of the 
dress. To the wrong side, baste a bias 
strip of material with its edges turned under. 
Place two rows of stitching across the yoke, 
stitching from the outside. They will catch 
through the bias facing that is basted un- 
derneath, and which covers the seam, ma- 
king a neat finish on the inside. This finish 
is desirable for a summer dress, as it makes 
it unnecessary to line the yoke. If a fining 
is used, however, it is cut like the yoke pat- 
tern, and the top of the dress portion is en- 



Fig. 157. Hem Used as Fly Under Plait 

closed between the turned-under edges 
of the yoke and its lining. 

Sleeves are made in various ways. 
They may be gathered at the wrist and 
set into a cuff or wristband, or the lower 
part of the sleeve may be stitched in 
plaits forming its own cuff. After lay- 
ing the plaits according to the pattern 
instructions, baste them flat to the 
sleeve and stitch through both plait and 
sleeve. Stitch the seam of the sleeve at 
the openings, with the extensions beyond 
the edges of the seam. On the front 
edge this extension is turned under for 
a hem, and on the other extension a tiny 
hem is turned in along the upper end and 
the long side. This extension is meant 
for an underlap. Underface the wrist as 
shown in Fig. 161. Close the opening 
with buttons and buttonholes. (Fig. 162.) 

A Cufj, if one is used, is made of two 
pieces of material cut from the cuff pat- 
tern. These two pieces are basted to- 
gether, with the right sides facing each 
other. The stitching is made close to 




Fig. 1 58. A Fly Stitched on Under Plait 



52 



THE. DRL55MAKER 



the edge, and runs around the two ends 
and the lower edge. The cuff is then 
turned right side out and carefully basted 
so that the stitching will come in the 
crease. Join the upper edge of the cuff 
portion to the lower edge of the sleeve, 
with the seam toward the outside. The 
other cuff portion is turned under and 
basted over the seam. Stitching at the 
edges, around all four sides, finishes the 
cuff. 

Buttons and buttonholes are also used 
in closing the cuff, which is made to lap 
the width of the extension. Fig. 160 shows 
the cuff basted to the sleeve in prepara- 
tion for stitching. If the sleeve has a 
box plait extending to the top, gather 
the sleeve from the edges of the plait to the notche 
the box plait. 




Fig. 1 59. Attaching Yoke to Front 
, but do not gather the .sleeve acro.ss 





Right Side 
Fig. 160. Method of 
Applying a Cuff 

A French seam is the 
best finish for all light- 
weight cottons, but for 
heavy cotton and wool 
materials the armhole 
seams must be either 
bound or overcast. Di- 
rections for making 
French seams are given 
in Chapter I. Two rows 

of gatherings are used along all the edges that are to be gathered, 
should be the exact width given in the pattern instructions. 

Sometimes these little dresses are trimmed with an embroidered star or other em- 
blem such as are used on sailor suits. For appropriate designs for this purpose see 
the opposite page. 




Wrong Side 

Fig. 161. Method of 

Finishing Sleeve 



Right Side 

Fig. 162. Finished Sleeve 

Closed 

The finished hem 



A 



CHAPTER XI 

5AILOR OR NAVAL 5UIT5 

LMOST invariably the small boy and girj, if given any voice in the choosing of their 
clothes, will select the suit that looks most like a uniform. Probably this is the 
reason why the styles permitting the use of brass buttons, emblems or insignia 
meet with such general and long-continued favor. 



EMBLEMS and CHEVRONS in the various groups, or sets of anchors, bars, eagles and 
stars, finished and i-eady to sew on, can be bought, but they are never as satisfactory as 
the designs that can be stamped on the dress itself. Sometimes the figures are worked 
in the center of a piece of broadcloth or linen, which is cut square or oblong, or possibly 

in shield shapo, and attached to the sleovo with a row of catch-stitohinff. 




Fig. 1 63. E.mblems and Chevrons 

The mother who makes her children's clothes is sometimes confronted with the problem 
of selecting some kind of an embroidered emblem, and for this reason we offer the differ- 
ent combinations illustrated above. The chevrons or stripes are not padded but 
should be made of strips of scarlet three-eighths of an inch wide, separated one-fourth 
inch and sewed on flat with an overlock stitch of scarlet silk on the edges. 

In working the specialty marks and eagles, an easier plan than the one of cutting the 
figures out of pasteboard and working over them, is to baste a piece of canvas or crino- 
line on the wrong side of the material, and work right through it, cutting the edges of the 
canvas away after the figure has been completed. 

53 



54 



THE, DRL5SMAKLR 



Light-weight twisted embroidery silJc, mercerized cotton, or a linen thread may be 
used to advantage, for in this work smoothness is the most desirable feature, and the 
threads should all be placed in such a way as to lie next to one another, but not overlap. 

On suits of galatea, chambray, linen or any of the pretty cotton materials used for 
children's clothes, the work may be done with cotton, either plain or mercerized. This 
thread is more suitable than silk for suits which need frequent washing. The sleeve 
emblem may be repeated on the front of the blouse or shield, or a simpler design — a star 
or anchor, for instance — may be used if pi-eferred. 

THL SAILOR or NAVAL SUIT is one of the most attractive costumes for young girls 
for any season of the year. This type of dress makes excellent school and play dresses. 
The blouse is particularly good for gymnasium suits. There are many modifications of 
the sailor dress, and a great variety of patterns. 

Dark navy-blue flannel and bleached cotton drill are the materials used for these blouses 
or overshirts, as they are called. According to the regulations governing the uniforms 



of officers and enlisted men of the navy, the 
blouses are trimmed with white linen tape, 
drill blouses are made with sailor collar and 
flannel, which are also trimmed with the 

In adapting this style for misses' and girls' 
essary to be governed absolutely by the 
garding color and 
observed in the 
regulation navy- 
brown, gray and 
bleached " khaki" 
ered quite correct 
Serge, cheviot, 
panama suiting are 
en materials, while 
gingham, galatea, 
the suitable wash 

The selection of 
the "rating badge" 
blouse makes quite 
study. The navy 
that the rating 
rial, its decoration 
mark, and a class 

For blue clo- 
be embroidered in 
be worked in 





Fig. 165. Rating Badge for 
Chief Master-at-Arms 



dark - blue flannel 
while the cotton 
cuffs of dark-blue 
tape. 

wear, it is not nec- 
ironclad rules re- 
material which are 
navy. Besides the 
blue and white, 
red, and the un- 
shades are consid- 
for sailor dresses, 
prunella cloth and 
appropriate wool- 
linen, duck, pique, 
etc., are a few of 
fabrics. 

the emblems for 
on the sleeve of the 
an interesting 
regulations state 
badge shall be made of the garment mate- 
to consist of a spread eagle above a specialty 
chevron. 

thing, the eagle and specialty marks should 
white, and for white clothing they should 
blue silk. The naval uniform regulations 
further order that the rating badge shall be worn by all petty officers of the starboard 
watch on the right sleeve, midway between the shoulder and the elbow ; by all petty 
officers of the port watch the badge is on the left sleeve. This statement eliminates 
any doubt as to the correct placing of the rating badge, as, in accordance with these 
instructions, either sleeve is correct. The chevrons show the class of the officer, while 
the specialty marks indicate his position in the marine service. 

In using these emblems on a girl's blouse, it is a pretty fancy to select the specialty 
marks worn by the father or brother who is enlisted, or even an insignia indicating the 
trade or professional calling followed by a male member of the wearer's family, such as 
engineer, electrician, printer, carpenter, plumber, machinist, etc. The emblem may be 
placed on the shield also, and a five-pointed star should be embroidered on both corners 
of the collar. Excellent transfer stamping patterns can be purchased for the emblems, 
stars, etc. 

TO MAKE THL BLOU5L, baste the seams with notches matching, and try the blouse on, 
either by slipping over the head or lapping the fronts, as directed in the pattern instruc- 
tions. If a yoke-facing is used, the under-arm seams are left open to facilitate the work. 
The shoulder seams of the blouse are joined with the seams toward the outside ; those of 
the yoke-facing toward the wrong side. Stitch and press the seams open. 



164. Boatswain's Mate 
First-Class 



SAILOR OR NAVAL SUITS 



55 




Fig. 1 66. Turning Edge of Yoke 



The lower edge of the yoke is turned under a 
seam's width. If the yoke has a curved lower 
outline, the turned-under portion at the fullest 
part of the curves must be slightly eased, while 
at the sharp points it must be slashed as shown 
in Fig. 166. Lay the blouse flat on the table, 
spread out its entire length. Place the yoke on 
the blouse so that the shoulder seams come ex- 
actly together and the yoke lies smoothly on 
the blouse. Pin the yoke to hold it in place, 
then baste and stitch it to the blouse. 

Plaits are made in the regulation sleeve by 
creasing from the perforations at the bottom to 

the corresponding perforations at cuff depth. These creases are brought over to the 
position marked by perforations and the plaits are stitched along the fold edge before 
the seam is closed. 

The illustration below shows how the blouse may be laid out on the table for conven- 
ience in joining the sleeve. Baste the sleeve to the yoke with the usual three- 

eighths-of-an-inch seam and then stitch it. Turn 
under the armhole of the blouse three-eighths of 
an inch, baste it over the seam, and fell it down. Make 
a second stitching on the body of the blouse one-quar- 
ter of an inch from the seam. The under-arm and 
sleeve seams have been left open until now, making 
the work easier to handle and also making it possible 
to sew the rating badge on the sleeve properly. 

Close the under-arm seams and the sleeve seams as 
notched, using flat felled seams. A placket is some- 
times made in the sleeve at the wrist, which is closed 
with buttons and buttonholes. The method for ma- 
king this style of sleeve, with and 
without a cuff, is given in Chap- 
ter X, "Children's Clothes." 

A hem is turned at the bot- 
tom of the blouse, and, if the 
pattern instructions direct, an 
elastic is inserted to hold the 
blouse in place. 




\ Fig. 167. Setting in Sleeve 



THE COLLAR is joined to the 
neck with the seam toward thein- 
side. (Fig. 168.) The collar is 
marked with notches showing 
where it joins the blouse, and, in 
basting it on, the edge should be 
stretched between the notches to 
fit the corresponding edge of the 
blouse thus causing the collar to 
roll closely about the neck. The outer edges are 
turned under three-eighths of an inch and basted 
down. At the end of the slash in front, the turned- 
under portion tapers away to a point. 

The outer facing is placed on the collar so carefully 
that the roll perforations will come exactly together 
and the ends are slipped under the fronts. (Fig. 169.) 
Baste along the roll perforations. The neck edge 
of the facing is stretched sufficiently to make it lie 
smoothly when the collar is rolled back. After pin- 
ning the collar facing around the neck and down the 



56 



THL DRE55MAKLR 




front, roll the collar and facing over at 
the perforations, and roll the fronts back 
to the single perforations near the front 
edge. Put your hand under the collar 
and smooth it outward, so that it does 
not wrinkle on the collar facing. 

Turn the edge of the collar facing un- 
der, even with the collar. Baste the 
collar and the facing together across the 
bottom and sides, up to the scam join- 
ing the collar and blouse. Fmm that 
point down, take out the pins that 
hold the collar facing to the blouse. 

The collar facing is trimmed with three 
rtivs of linen tape, set its own width 
ap.nrt and stitched on both edges. If 
30U sew the tape on the collar facing 
iifter the latter is on the blouse, the 
stitching will show on the front of your 
yoke. Across the back of the collar it 
makes no difference, for the facing is on 
ti ]i, and the stitcliini; iincifriipath. Baste 



fig. 1 68. Basting on Collar 

the linen tape carefully to the collar fa- 
cing and .stitch it on both edges. 

After it has been stitched, the collar 
facing can be basted in place under the 
front. A row of stitching as close to the 
edge as possible should run around the 
entire outer edge. The inner edge < f 
the collar facing must be turned under 
three-eighths of an inch. Wherever it 
is necessary, it must be clipped, or 
eased, like the edge of the yoke. After 
the edge is turned under, it is basted to 
the blouse. Across the back of the 
neck it is felled to the blouse, covering 
the seam, but down the fronts it is 
stitched with two rows of machine 
stitching, which makes a pretty decora- 
tion on the front of the blouse. Another 
method of attaching a sailor collar is 
given in Chapter XXIII, under "The 
Russian Blouse Jacket." 

The shield is cut in one piece and 
may be simply hemmed, or, if preferred, lined throughout 
trimmed with an emblem or star. 

After both blou.se and shield are finished, it is practical to make a few buttonholes 
along the neck line of the body part, under the collar, .sewing buttons in corresponding posi- 
tions on the shield to prevent it from shifting around out of place. A crow's-foot may be 
made at the lower end of the neck opening in front. 




Fig. 169. A-liuslirr^ [br- C ( .llcr Facing 



with 



iinbric. It is 



THE NECKERCHIEF or TIE worn with the blouse by a sailor of the navy is made of a 



SAILOR OR NAVAL SUITS 



57 





Fi§. 171. Detail ot Tying Knot 



The Neckerchief Tied 



perfect square of black silk tied in a square knot, leaving ends from four to six inches long. 
This square piece is folded diagonally and then rolled up, with the two overlapping cor- 
nens folded into the material and held together by an elastic, as shown in Fig. 170, 
while the other corners are tied at the lower end of the collar in a square knot, with a 
corner extending from each side. By studying Fig. 171 
the method of tying a sailor's knot will be easily under- 
stood. 

TO MAKL THL SKIRT, lay Ihe pattern pieces on the ma- 
terial, paying due 
attention to the 
perforations indi- 
cating the grain 
of the goods. The 
skirt length 
should first be 
ascertained, and, 
unless allowance 
is made for a hem, 
sufficient length 
should be added 
when cutting. 

If front openings are desired, and are not provided for in 
the pattern, both edges of the front gore are underfaccd 
to the depth of a placket opening, with a straight strip 
of material about one and one-half inches wide. The 
front edge of each side gore should have an underlap 
to the same depth, which should be about one inch and a 
half wide when finished. 
Join the gores together with stitched, felled seams, continuing the stitching along the 

opening. Baste the hem. If the skirt is to be plaited, the plaits will give sufficient 

material for the underlap. See Chapter XXI, "Skirts." After the skirt has hocn 

fitted, the plaits are stitched near the edge down 

to the required depth. 

For a back lacing, the back plait is stitched sepa- 
rately from the skirt and the fold edges worked with 
six or eight eyelets, done in the same manner as in- 
structed on page 15. A black silk lacing or silk tape 
is laced through the eyelets. The navy regulations 
demand that the finished lacing appear like Fig. 17.'!. 

The up- 
per edge of 

the front 

gore is fin- 
ished with 

a straight 

belt two 

inches 

wide. A 

continuous 

belt of the 

same width 

is attached 

to the side 

and back 
gores of the skirt. The belts are cut single and lined, with an interlining added if it is 
nece^sarv. Three buttonholes are made at each side of the front gore, two on the skirt 
part and one on the belt as shown in Fig. 172. The sailor blouse may be used with a 
boy's suit. Instructions for making trousers will be found in Chapter XX 1 11. 





Front Placket of Skirt 



Fi$. 173. Regulation Naval Lacing 



CHAPTER XII 

IMPORTANT POINT5 AND AID5 IN DRL55MAKING 

DRESSING and DRESSMAKING have few difficulties for the woman with a perfect 
figure. But for the woman who is abnormally stout or thin, long or short waisted, 
or who has uneven shoulders or hips, dressing presents a more difficult problem. 
However, it is encouraging to remember that almost any physical defect can be 
quite concealed by skilfully planned clothes. 

There are several musts and must nots that a woman with a poor figure should re- 
member. Light colors make a person look larger; dark colors, smaller. Big checks and 
plaids are unbecoming to stout women. Stripes, used horizontally, have a tendency to 
make one look like a barrel. Used vertically, stripes lengthen the lines of the figure and 
produce an effect of slenderness. 

A Stout Figure is not made smaller by lacing — the flesh will simply be pushed to some 
other place, where it will be more noticeable than before. A tight lining has the same 
unfortunate effect. 

Narrow Shoulders are not improved by padding, and it is a mistake to think that they 
can be made to look broader by cutting a waist or lining long on the shoulders. However, 
it is always possible to use a waist design that has some trimming concealing the armhole, 
and lengthening the line from neck to shoulder. 

A Very Thin Woman can help herself materially by using ruffles on her corset covers 
and waist linings. In tailoring her coat the hollow places in the chest can be filled in by 
padding. On the whole, a thin woman has a far easier time of it than one who is stout. 

THE IMPLEMENTS REQUIRED for dressmaking should be within easy reach before 
starting to make a garment. Every woman who attempts such important work as dress- 
making should provide herself with all the necessary tools. The following articles should 
be close at hand: First of all, a pair of medium-sized shears, about nine or ten inches long, 
well sharpened, so that they do not fret or chew the material, but cut a clean, smooth edge; 
plenty of pins, a tape-measure, a yardstick, some basting cotton, needles, a thimble and 
several weights. 

One should have, also, a tracing-wheel, tailors' chalk and colored thread for marking the 
materials. Where you can not use a wheel — on woolens, for instance — use chalk or the 
colored thread. Do not use a tracing-wheel or heavy pins on taffeta, as they are apt to 
cut the silk. 

The Table or surface upon which the material is laid preparatory to cutting should be 
smooth and hard, and of sufficient dimensions to permit the largest pattern to be spread 
out upon it. There are exceptional cases to which the latter suggestion may not apply, as, 
for instance, where a kilted skirt is to be cut by a pattern, or when there is no long surface 
available. In that case the worker must exercise her ingenuity and judgment and do 
the best she can with the surfaces that are at hand. In the ordinary household the din- 
ing-table, usually of the extension style, will give sufficient length for cutting. 

IN CUTTING GARMENTS that are to have linings, it is generally well to cut, baste 
and tr}'^ on the lining before the outside is cut; then, if any mistakes occur, they can be 
rectified inexpensively. Should much alteration be necessary, it will be a saving of the 
outer fabric to alter the lining first. 

A good cut and a good quality of lining are necessary to the perfect fit of a close-fitting 
waist. Percales, soft silesias, sateens and the substitutes for silk are the approved fab- 
rics for both waist and skirt linings when silk is not used. 

To cut any of the different lengths marked on the pattern, pin the paper pattern 
together at all the seams, as if it were cloth. Lay the pinned pattern flat on a table and 

58 



IMPORTANT POINTS AND AIDS 



59 



note the continuous line at each row of perforations which indicates the different 
lengths; then mark with a pencil the length desired. Lay out the pattern on the lining, 
trace with the wheel through the mark outlining that length, and cut three-eighths of an 
inch below it. Although a waist is used for illustration at Fig. 174, these instructions 
apply also to skirts. This plan should always be followed. In cutting from a pattern 
that provides more than one length, quite frequently a quantity of material may be saved. 
It is a good plan, too, to lay a ruler or yardstick on each piece of the pattern and draw 
a continuous line through the perforations which show how the pattern is to lie on the 
grain of the goods. The pencil-mark can be seen more readily on the paper pattern than 
the perforations, and will, therefore, often prevent mistakes. 

In Laying Out the Pattern on the lining, arrange to cut two thicknesses at one time. 

Lay the lining out on a large table, double it by bringing the two cut ends together, 
and place the different pieces of the pattern upon it to the best advantage. Cut out 
through the two thicknesses, carefully 
marking all notches in both. 

Cut all edges evenly, using a pair of 
sharp shears. If an edge is cut un- 
evenly, the eye is apt to be misled by 
this unevenness when basting or sewing 
the seam. 

At the perforations which mdicate 
the darts and the under-arm and 
shoulder seams, mark with a tracing- 
wheel a continuous line through the 
center of each perforation. This will 
be the sewing line. Remember that 
unless specified in the pattern instruc- 
tions, an allowance of three-eighths of 
an inch is made for all seams not 
marked by perforations. 

After the Lining Has Been Fitted, but 
before it is stitched, it is a good plan 
to rip one side, separate the pieces on 
which any alterations have been made 
and lay these pieces on the original 
pattern; make the same alteration and 
keep this corrected pattern for future 
use. In using the pattern of another 
gown the new waist or skirt lining may 
be marked by the corrected pattern, 
and it will save much time and 
trouble. 

Spread the material out smoothly upon the cutting surface, ready for the patterns or 
linings to be laid upon it. It should be held firmly in place by weights, the worker being 
careful not to draw the goods. The pattern should then be carefully pinned to the 
material. When checked, plaid, or figured goods are cut, the corresponding checks, 
plaids or figures should be laid evenly face to face and pinned. (See Chapter XIII, 
under "Matching Figures and Plaids.") 

One great difficulty in making one's own gown is that, as the work progresses, it becomes 
necessary to try it on again and again, and it is not always easy to see whether the desired 
effect has been obtained. 




Fig. 1 74. Lining Showing Tracing for Different Lengths 



A PADDED BUST FORM is one of the most important aids in dressmaking; in fact, the 
most important when a person is making her own waists. It is almost impossible to 
fit oneself without it, and those who have one realize its value. A bust form which is 
the exact duplicate of one's figure, and on which a waist may be correctly fitted, can be 
had at very slight expense if the worker will follow the directions given here. A form 
covered with a fitted lining and padded out to correct proportions is shown in Fig. 175. 



60 



THE DRLS5MAKLR 



Ordinary bust forms, made of papier-mache covered 
with stockinet, etc., may be purchased at any depart^ 
ment store. It is advisable to get a form a size smaller 
than your measurement. 

Cover it with a waist lining that has been fitted to 
your figvire. Certain patterns are issued having extra 
length below the waistline, and any of these are desira- 
ble patterns for the form cover, on account of length. 

The patterns are quite long enough to reach to the 
bottom of the waist form, but for ordinary waist li- 
nings, four shorter lengths are indicated by perforations, 
and the waist may terminate at the waistline. 

Cut the waist lining from heavy unbleached muslin 
or from cotton duck, observing the perforations which 
show how the pieces should lie on the grain of the 
goods. Transfer to it all the marks, notches and per- 
forations that the pattern contains. Cut the collar 
from two thicknesses of canvas, and stitch them 
together with a wavy line of stitching. (Fig. 175.) 

Join the seams according to the notches and perfora- 
tions. The closing should be in the front in making the 
form cover, as the worker will find it easier to manage in 
fitting herself. Fold a line from one notch on the 
front to the other, keeping the hem an even width, 
and run a colored basting along the turning line of 
this fold. The basting indicates the closing of the waist. 



Li 



Fig. 175. 



Bust Form Padded Under 
Fitted Lining 




Fig. 1 76. Padded Sleeve 
Lining 



Try on the waist, pinning the two tracings together clo.sely. 
Be sure to have the two fronts even at the top and bottom, 
and fit the waist carefully. If it is possible to have assistance in 
doing this, so much the better. Draw the lining up well on 
the shoulders, but not enough to pull it up from the waistline. 
Many figures vary from the normal measurement in some 
particular. If very much alteration is required, alter the pat- 
tern first as directed in Chapter XIV, " The Best Method of 
Altering Patterns." After basting the alterations at the seams, 
try the lining on again. 

Place a tape around the waist at the natural waistline, mark 
with a pencil or chalk on the lining, at the lower edge of the tape. 
After taking off the lining, trace through this mark with a colored 
thread. Stitch and press the seams as if for a dress lining. 
It is not necessary to bind or overcast them. Fold under and 
stitch the front edges. Run a strong basting around the arm- 
holes and the neck to prevent them from stretching out of 
shape. Baste the canvas collar to the neck. 

Place the lining on the waist form, draw it well on and pin 
the fronts together for two or three inches up from the bottom 
and down one or two inches from the neck — just enough to 
hold it well on the figure. Pad in between the form and the 
lining with tissue-paper, rags or wadding, to make the lining fit 
smoothly and evenly. 

As the padding progresses, sew the two edges of the front 
together with an overhand stitch and continue to pad till the 
figure is quite firm and will not dent in handling. Especial at- 
tention is required at the neck and shoulders. 

Sometimes a sleeve lining is made and fitted quite snugly and 
then padded out to represent the arm. It is not sewed into the 
armhole of the bust form, as it would be in the way. In draping 
fancy sleeves, arranging lace or insertion, etc., the sleeve form 
will be of great value. (Fig. 176.) 



CHAPTLR XIII 

CUTTING MATERIALS, 5PONGING, ETC. 



its pile 



' : FIRST 
SIDE CX)RE 



FIRST 
SIDE GORE 



THE NAP or PILL in all woolen cloths should invariably run toward the bottom of 
the garment. (Fig. 177.) The cutting line of perforations in the patterns, and 
the directions for their use must be carefully followed. In waists and skirts that 
are to be cut bias, special instructions for placing the cutting perforations are 
given with the pattern. Fig. 178 shows a pattern laid on material that has no nap. 

When Velvet or Plush or any velvet material except panne velvet is used, the pile 
should run upward, just as the pile of the fur does in a garment of sealskin. When in 
these fabrics the pile runs upward its tendency is to fall outward, thus bringing out and 
enhancing its depth of color; while when the pile runs downward it is more liable to 
flatten, just as fur will when stroked, and its richness and intensity of color are ren- 
dered less apparent, and therefore less effective. 

Panne velvet, the one exception to the above rule, should be cut with 
running downward. 

In A d joining Sections, great care 
should be taken to have the nap ■ i 

or pile I'un in the same direction. : .g 

Otherwise the diff"erent reflections . ^ 

of light caused by the varying 
dii-ections of the nap will make the 
garment appear as if made of two 
shades of goods. 

An Irregular Plaid can rarely be 
used on the bias, consequently the 
ways of making it up are limited. 
A dress made of irregular plaid 
requires more material than one 
made of regular plaid. The 
darkest stripes should run across 
the bottom with the lighter tones 
up, as the shading in this direction 
is better. 

It must always be borne in mind 
throughout the cutting, that all 
pieces of the pattern, or lining, 
must be placed with the upper 
part in the direction for the top 
of the material. An amateur 
had better use an even plaid. 

The most satisfactory results 
are obtained by folding the mate- 
rial and pinning through both 
thicknesses as for a seam, then 
turning over on the right side and 
noting the effect. In this way it 

may be easily ascertained which stripe, plaid or figure it will 
be best to use for the center of the front and back, respec- 
tively. Be careful, in replacing the goods, not to lose the 
original position. 
61 



5 


i 
.1 

\[ 
SIC 

SI 


FIRST 
)[ GORE 

. , , SECOND 
" " SIDE GORE 

B^^CK CORE 

^ o ° ° FIRST 

SIDE GORE 

tCOND 
DtGOVl 


^ 




BACK GORE 





SECOND 
SIDE GORE 



SECOND 
SIDE GORE 



Fig. 1 78. How Pattern May E 
Laid When Material Has 
No Nap 



Fig. 177. Laying Pattern on 
Material Haying a Nap 



♦62 



THE DRL55MAKLR 




Fig. 1 79. Marking Pattern for Matching 
Stripes on Shoulder 

peated in the pattern of the outside waist 
before cutting the material. 

When making a waist of striped mate- 
rial the only place where the stripes must 
match is at the shoulder seams — unless, 
of course, the stripes in the material run 
bias or the waist itself is cut on the bias. 
In the latter case the general principles 
given in the preceding paragraphs on cut- 
ting materials can be followed. 

In a plaid waist the vertical lines at 
the shoulder seams and the crosslines at 
the under-arm seams must match. (See 
Fig. 180.) If the waist closes in front, 
the back should be cut out first. Pin 
the back to the pattern of the front at 
the shoulder edge. Mark the stripes with 
a pencil on the pattern of the front where 
they intersect the shoulder seams. (Fig. 
179.) Lay the pattern of the front on the 
goods so that the stripes of the material 
correspond to the stripes marked on the 
pattern. Then cut out the fronts. In 
Fig. 179 the seam edge of the pattern is 
folded under to show the way the stripes 
should match when the shoulder seam is 
closed. 

IN CUTTING THL SKIRT of plaid, 
place the chosen line or plaid exactly in 
the center of the front gore, or, if the 
skirt is circular, directly down the center 
of the front. After the front is cut, the 



THL PLAID WAIST should be cut in as few 
pieces as possible and can be made either on 
the straight or the bias of the material. Match 
the heavy lines wherever the waist is joined, 
.either at the under-arm or shoulder. 

With the present style of stretching the 
back of the draped waist, little difficulty is ex- 
perienced in the making. Having chosen the 
stripe that is most suitable for the center of 
the back, select also, for the crosswise stripe, a 
position which will leave the best effect on 
the figure. For the front, arrange the plaid 
so that when the waist is closed the center 
will form a succession of perfect blocks. Other 
ideas may be considered for the front closing; 
this is simply a matter of choice, since the lines 
across the front must match. In any event, 
the crosswise plaids of the front must be on a 
line with those of the back, so that when the 
under-arm seam is joined the crosswise stripe 
of both will match perfectly. (Fig. 180.) 

The chief difficulty in the making of a 
striped or plaid waist lies in the accurate 
matching of the stripes. In using a new 
pattern, cut and fit the lining first. Then if 
any alterations are necessary they can be re- 




180. Matching Cross Stripes at 
Under-Arm Seam 



CUTTING MATERIALS. SPONGING. ETC. 



63 




uncut material is laid on the table and the cut 
front placed alongside, near the edge, with the 
crosswise as well as the lengthwise stripes match- 
ing exactly. (Fig. 181.) 

Place the pattern of the side gore on the mate- 
rial, matching the front, and if the position is cor- 
rect, cut; otherwise move the front gore to the 
next block or plaid on the material. This may 
necessitate some waste, 
hut there is no alterna- 
tive. Frequently, in 
plaid or figured mate- 
1 ials, the pattern will 
ive to be moved half 
yard or more to a cor- 
^ponding line or figure 





Fig. 181. 



Matching Plaid at Side Seams 
of Skirt 






Fig. 1 82. Center Back or Front 
Seam of Circular Skirt 



Fig. 1 83. Center Front or Back 
Seam In Skirt of Plaid 



be''ore the correct position will be 
found. Cut each gore after the 
manner directed, and baste and 
stitch. 

Fig. 181 shows a material of plaid, 
in cutting which a waste was neces- 
sary in order to match the plaid. On 

account of this waste in matching, more material must be 
allowed for the making of a plaid dress. Care and attention 
are necessary in making up plaids, for no costume is well 
put together unless the different portions are carefully 
matched. 

Stripe, check and plaid materials can be used effectively 
in a circular skirt with a bias seam down the front. (Fig. 182.) 
A two-piece pattern is suitable for such a skirt, and full directions are given in the pattern 
instructions showing how to place the pattern on the material in order to obtain a 
desirable bias. 

It is better in cutting a skirt of plaid or stripe, to cut one side first, then, removing 
the pattern, lay the section just cut upon the material, and carefully match the plaid 
at all points before cutting the opposite piece. When both sides are joined, the 
prominent lines in the plaid should have a mitered effect, as shown in Fig. 183. 

FIGURES and FLOWERS must also match • perfectly. Unless one line of flowers 
is up and the next down, as usually occurs, one position will have to be selected for 
the top. Generally the stems of the flowers run downward. 

When cutting a garment where several breadths of silk must be joined (a circular 
skirt, for instance) it is most important that the pattern or figures on the material should 
be matched. Often this can not be done when the breadths are simply joined at the 
selvages. Cut the front gore first by folding the silk lengthwise through the center 
(if the skirt has no seam at the front), and laying the front edge of the pattern even 
with the fold. If there is a decided figure in the silk, fold this front breadth so the 
figures will balance and not make the skirt look onesided. 





Fig. 186 Makhin<;Ploi(i \\hen 
Piecing is Necessary 



THE DRL55MAKLR 

Lay the paper pattern 
out on a table; place the 
front gore upon it and 
match the figures of the 
silk at the edge of the sec- 
ond breadth to those at, 
or near, the edge of the 
first. It will sometimes 
be necessary to lap the 
second breadths consider- 
ably over the first, as 
shown in Fig. 184, in order 
to find the corresponding 
figures. Turn under the 
edge of the second breadth 
and pin it to the first. The 
gore may then be cut ac- 
cording to the pattern. 
Proceed in the same way 
to join the breadths for 
both sides of the skirt. 

Slip-stitch the breadths together, from the outside, 
by slipping the needle along, inside the fold edge of 
the upper breadth, and then taking a stitch in the 
under breadth, as shown in Fig. 185. When the skirt 
is turned wrong side out, it will be found that the slip-stitching from the right side forms 
the basting of the seam. Material will give more and match better if the selvages are 
cut ofl". 

SPONGING is one of the most important steps in both dressmaking and tailoring. 

Almost all woolen materials should be carefully sponged before they are used. A few 
very thin, open-meshed fabrics cannot be sponged on account of the shrinkage, but in 
most cases the sponging is advisable. If you are in doubt take a small piece of the 
material and experiment with it. To a certain degi-ee it prevents spotting from 
rain, etc. For sponging, one must have a large-sized table, an ironing-blanket and a 
strip of heavy unbleached muslin or drilling one yard wide and two yards long. The 
ironing- blanket must be laid on the table without a wrinkle. The selvages of the 
material should be clipped or cut off a.id the material should be laid face down on the 
blanket. Wet and wring out the strip of muslin, lay it over the material, and press it 
with an iron several times. Then remove the muslin and press the material itself until 
it is dry. Sponge a small portion of the goods at a time and work slowly and carefully. 

In sponging material of double width, let it remain folded with the right side turned 
in during the sponging. If the material is very heavy, it may be turned to the other 
side and the sponging repeated. 

Wash materials of the linen order should be shrunken — dipped in water, wrung out 
and pressed dry — before they are made up. Fine mulls, flowered organdies, Swisses, 
etc., should not be shrunken for they are not as pretty afterwards as they were before. 



Fig. 1 85. 51ip-stitching the Breadths 
Together 



CHAPTE.R XIV 

THE BL5T METHOD OF ALTERING PATTERNS 

BUTTERICK PATTERNS are so carefully planned that it is unnecessary for 
most women to change them in order to secure an absolutely satisfactory fit. 
At the same time, for figures varying from the average in waist lengths, sleeve 
lengths, skirt lengths, bust size, waist size^ hip size, etc., the patterns can be easily 
changed to suit individual peculiarities of form by following these instructions: 

It is easy to lengthen or shorten a waist, sleeve, or skirt without in any way de- 
tracting from the original lines, if the work is done at the right time and in the proper 
way. A woman sometimes spends a long time endeavoring to fit a waist cut the 
normal length to a long-waisted figure, and the result is unsatisfactory because the 
lines of the seams and the proportions of the waist are not what they were designed 
to be, a very slight change sometimes destroying the effect of the whole garment. 
Fitting an average-length waist pattern to a short-waisted figure is another difficult 
thing for an amateur to do. By carefully studying these illustrations, methods and 
principles, one can alter patterns satisfactorily for aU types of figures. 

A knowledge of the proportionate measurements 
used in making patterns is very necessary for the 
dressmaker, whether professional or amateur. A 
comparison between these measures and those of 
the person to be fitted should be made before cut- 
ting into one's material. 

FOR ADAPTING PATTERNS TO LONG OR 5HORT- 
WA15TLD FIGURES, the first step should be to read the 
pattern instructions carefully. Then open the pattern, 
and, referring to the instructions, identify each piece 
by its number and 

description. Before ^^^0t 

cutting the material, ^^^^^^k^' \. 

the figure should \^ '• \l " ^ta« 

be measured from % • V^ • V 

the collar seam at M.. ■..&r, W • • • • 1 

the back of the neck hmhIiHMMMM 

to the waistline and ^^^^^1|. . ..■ 

from close up under WM^ \ | 

the arm to the waist- I ' ,- \ 

line. I . ' I 

Fig. 1 87. To Shorten the Waist LininS Make a note of all B . \- 

the measuresas I' « 

they are taken, then compare them with the corre- ^^^ .^ -'W 

sponding measurements of the pattern. In most cases .^^^^^^.l' ^ ' 

it is sufficient to alter the length of a waist lining at M . ^^^^HlB^^J 

the lower part. Some figures, however, are long- ^r ■ ■ ' mm^^^^m 

waisted from under the arm to the waistline, and ^F ' Mm I 

short from imder the arm to the neck. This is de- W.'- ' ■■ I 

termined by the length of the under-arm measure. If the ^^ II ' '• -. 'I 

lower part is too long, lay a plait across each piece two ^^^^^ ". 11 . • .y^B 

and one-half inches above the waistline. (Fig. 187.) The ^^^^^^_Jl .^- '' I 

size of the plait depends on the difference between the ^^^^H^BiBIBB* 

measure from under the arm to the waisthne of the fig. 1 88. To Lengthen the Waist Lining 

65 




66 



THE DRL55MAKLR 



pattern, and the corresponding measure of the figure. If the upper part is too long, lay a 
plait across the front and back, half way between the under-arm and the neck. (Fig. 187.) 

The Uning may be lengthened by cutting it across at either or both of these points 
and separating the pieces the required space to give them the desired length. (Fig. 188.) 

The illustrations also show how to even off seam edges after the plaits are laid. 
Whatever alteration is made in the length of the Uning, corresponding alterations 
must be made in the pattern of the outside of the waist, taking out or putting in the 
same amount at the same places. 

ADAPTING PATTERNS TO FIGURL5 WITH EXTRA LARGE OR SMALL BUST— A pat- 
tern may be of the correct bust measure and yet require a slight alteration across the bust. 
This alteration can usually be made at the under-arm seam, where an extra allowance, 
' or outlet, is provided for just such cases. 

When there are two under-arm gores in a 
pattern, the alterations should be made so 
that it is equally divided at the two under- 
arm or outlet seams. 

Occasionally, however, one finds a figure 
with what is termed an "extra large" or 
"extra small" bust, which means that while 
the bust measure in both cases may be the 
same as for a figure of average shape, a grea1> 
er proportion of the measurement is over the 
front and less at the back in the first case, 
and less in the front and more at the back in 
the other. Fig. 189 shows the fronts of a 
French fining, which have been slashed and 
separated to fit a figure having an extra 
large bust, thus giving more room across the 
bust proper, from a point near the bottom of 




Fig. 189. Increasing Bust Size 

the armhole to the bust line. The change 
here suggested and illustrated is for a figure 
of extreme fulness at the bust. It will not, 
of course, be necessary to make so great 
an alteration for figures more nearly the 
normal shape. 

Fig. 190 shows the same French lining 
pattern, slashed and adjusted to fit a figure 
with an extra small bust. In this case, the 
edges are lapped instead of separated. This 
represents an extreme case, where the bust 
is very small, although the measure taken 
about the bust is the same as for a figure of 
average shape. Where the bust is not so 
small — that is to say, but slightly undersized 
— such extreme laps are unnecessary. For 
such a figure, therefore, the edges should 




Fig. 1 90. Decreasing Bust Size 



THL BL5T METHOD OF ALTERING PATTERNS 



67 





Figs. 191 and 192. Right and Wrong 
Methods of Terminating Darts 



WfS^. I ^"''™^'" only be lapped a little, but in the same way as shown in 

'"'' ' I the illustration. The principle is the same in each instance, 

and the method of procedure, with our explanation, will, 
we believe, be found so simple that it will prove a great 
help to women who have had trouble in fitting themselves 
satisfactorily. It makes no difference whether the front 
edge of the front in the pattern is straight or curved. 
Excellent results can be secured with either style. 

Fig. 191 represents the easy curve commonly followed in 
terminating darts in waist patterns. The picture shows 
the effect when the material is folded, with the corre- 
sponding dart perforations matching, according to the pat- 
tvrn instructions. The point to be emphasized here is that 
the line of the dart seam should follow the reversed curve, 
toward the point running into the folded edge, almost in 
a line with the fold. When this 
curve is followed, the " pouting " 
effect (as it is called by pro- 
fessionals) often seen at the top 
of darts is avoided. 

Fig. 192 shows the line of the 
dart seam running straight from 
the third perforation from the 
point of the dart to this point. 
This is the cause of a "pouting" 

effect, which, as explained in the preceding description, is 

easily avoided. It is an ugly and unnecessary fault. 

Although the darts in skirts ai'e reversed, this caution 

should be observed, as the points should be finished perfectly, 

avoiding this same pouting effect already referred to. 

Sometimes it is not easy to remove entirely the wrinkles 

from a hollow shoulder, but the front can generally be made 

nearly smooth by stretching its shoulder edge and the upper 
part of the neck edge a trifle, 
and by holding the back quite 
full on the front when basting 
the shoulder seam; also by cut- 
ting the back about a quarter 
or a half inch wider than the 
front at the shoulder edge. 
Almost invariably these little 
wrinkles are not the result of a 
misfit in the front, where they 

appear, but are caused by the back shoulder being cut a 
little too short to cover the shoulder blade easily. 

FOR ROUND-SHOULDERED OR OVER-ERECT FIGURES 

clothes should fit so perfectly that they will lessen the 
appearance of the defect. The best remedy for a round- 
shouldered person is a shoulder brace, especially in the case 
of a young girl or even an older woman if she hasn't fallen 
into hopelessly bad habits of sitting and standing. But 
shoulder braces can do little to help a woman who has 
acquired weakened muscles or pads of flesh across her 
shoulders. For her and for the woman with an over-erect 
carriage, patterns should be altered as shown in Figs. 193 
and 194. The pieces should either be slashed and separated 
(Fig. 193) or lapped (Fig. 194). If the person stoops very 
194. Lapped to Fit Over-Lrect ™'J<'h, a second cut should be made nearly all the way across 
Shoulders the back and side back, commencing at a point about one-third 





93. The Lining Slashed to 
Fit Round Shoulders 



68 



THE DRL55MAKLR 




Fig. 1 95. When One's Shoul- 
ders Are Square 




Fig. 196 How to Alter the 
Pattern 



the distance from the neck edge to the broken line, and terminating near the armhole 
edge just below the outlet hne of perforations, separating the edges made by the slash 
more or less as the figure requires — generally from an eighth to a half inch. In cutting 
out the side back, preserve an even curve all along the edge. The under-arm gore very 
seldom needs any change for this type of badly proportioned figures. 

Fig. 194 shows the same back and side back adjusted to fit a figure that is over-erect 
and comparatively flat at the shoulder-blades. In this instance the edges of the slashes are 
lapped instead of separated. Both of these illustrations show how to even the seam edges 

after they have been separated or 

lapped as much as necessary. 

FOR ADAPTING PATTERNS TO 
SQUARE OR SLOPING SHOUL- 
DERS — We have shown how a 
waist will act and how it should 
be altered under such circum- 
stances. An instance of square 
shoulders causing the crosswise 
wrinkles at the front is illustrated 
in Fig. 195. The waist should be 
taken off at the neck and shoulder 
edges, as shown by the dotted 
line in Fig. 196. Wrinkles at the 
back are removed in the same way as illustrated in Fig. 196. 
Shoulders that are more sloping than the average will 
cause a diagonal wrinkle from the neck to the armhole. 
(Fig. 197.) The waist should be taken off at the shoulder and armhole edges, as shown 
by the dotted Hne on Fig. 198. In changing a pattern of average shape to fit a person 
extremely out of proportion, it is always advisable to cut the pattern in cambric after 
making the alterations, and to fit the cambric to the figure so that any little deficiency 
may be adjusted before the material is cut. These alterations may be made as directed 
for any badly proportioned figure. 

TO LENGTHEN OR SHORTEN SLEEVE PATTERNS, measure along the inside of the 
arm from the armhole to the bend and from the bend to the wrist. These two measurements 
are necessary so that the elbow of 
the sleeve may be in correct posi- 
tion on the arm, since the upper 
and lower arm may vary in pro- 
portionate length. If all the al- 
terations are made at the top or 
the bottom of the sleeve, the 
elbow will be drawn out of place. 
If the measure from the arm- 
hole to the bend is one inch less 
than the corresponding part of 
the pattern, fold a half-inch plait 
straight across the pattern a little 
Fig. 197. When the Shoulders above the elbow. If it is neces- 

Slope sary to shorten the lower-arm p,^ ,93. Showing the Remedy 

portion, make a plait half as wide 
as the amount to be taken out, laying it across the lower part of the sleeve pattern, 
about three inches below the elbow and parallel with the wrist edge of the sleeve. 
The plaits across the under-sleeve piece should be made to correspond in size and posi- 
tion with those on the upper piece. The upper sleeve portion with the plait pinned in 
is shown in Fig. 199 on the next page. 

When plaits are folded over, the perforations and the edges of the pattern become 
uneven. To correct them, lay the altered pattern on a large piece of paper and mark 
a new outline, running across the edge of the folded part. If the arm is very full, 
the space between the elbow and the greater width at the top of the sleeve should be 





THE, BL5T METHOD OF ALTERING PATTERNS 



69 




Fi^. 1 99. Shortening the Sleeve 




Fig. 200. Lengthening the 
Sleeve 



filled out as shown by the dotted lines 
in Figs. 199 and 200. But if the arm 
is not large, the surplus width may 
be trimmed off to make an even 
outline from the elbow to the top of 
the sleeve. Whatever alteration is 
made at the edges of the seam must 
be repeated in regard to the large 
perforations. 

If the sleeve needs lengthening, 
make the alteration at the same 
places by cutting across the pattern, 
instead of making the plaits. Lay 
the pattern upon another piece of 
paper and separate the pieces far 
enough to make it the required 
length. Correct the outlines in the 
same way as when the sleeve is short- 
ened. (Fig. 200.) Alter the outside 
sleeve to correspond to the lining. 

By altering waist and sleeve patterns in the manner 
just described it is possible to fit garments without wrinkles 
of any kind to persons of abnormal proportions by making 
slight alterations in the patterns before cutting into the 

material. One can even make such a figure look less out of shape than it really 
is, by means of carefully-fitted clothes. On the other hand, the defect in a figure 
can be greatly exaggerated by badly-made waists, etc. It is a common mistake to 
try to make a person look smaller across the bust or narrower across the back by 
taking in the seams at those places, which in reality does not remedy the trouble and 
only serves to call attention to it. A good fit should be smooth, easy and comfort- 
able, never tight, drawn and contracted. 

In fitting garments we sometimes find one shoulder higher than the other, or one 
shoulder blade considerably more prominent than the other, which occasionally causes 
doubt in the mind of the fitter regarding what she should do to make the disproportion 
appear as shght as possible. In any case the utmost care should be exercised in placing 
the seams to the best possible advantage. Always bear in mind that when changes 
must be made to allow for bad proportions, several slight alterations in different places 
will do much more toward preserving the symmetrical lines of the pattern than can be 
achieved by making the entire alteration at any one place, even though the garment 
could be made to fit, without wrinkling, if changed at one seam only. 

When thick goods are being made up, it is sometimes desirable to leave the outside 
a little loose when fitting the small side of a figure whose measurements are not even, 
building up a shoulder that is low, or filling out a shoulder-blade that is much smaller 
than the corresponding one with wadding. Great care should be exercised in such 
cases not to use too much padding. A safe rule is to use only a small quantity in 
any doubtful case, as it is more objectionable to have the garment show that it is 
padded than to have one side of a figure appear larger than the other. Always thin 
the wadding out on the edges. 



FOR ALTERING A GORED SKIRT PATTERN, it is of greatest importance that one 
should know the hip measure as well as the waist measure of both the pattern and the 
figure to be fitted. In taking the waist measure the tape should be drawn quite snugly. 
The hip measure should be taken six inches below the waistline, holding the tape easily 
around the figure. The table of measurements on the envelope should be referred to 
in order to ascertain if the figure's measures correspond to those of the pattern. 

If the hip is large in proportion to the waist, order the pattern by the hip size and fit 
in the waist. If the waist is large in proportion to the hip, order the pattern by the 
waist size, and fit in the hip. 



70 



THL DRES5MAKLR 



If the skirt is of the correct hip measure, but is too large at the waist, the alteration 
is quite simple. It can be made in fitting the skirt after the gores are basted together, 
by making each seam a little deeper from the hip toward the waist. 

If the waist is the correct size and the hip is too large, make each seam a little deeper 
from the waist toward the hip, continuing to take in each seam from the hip to the lower 
edge of the skirt the same amount taken in at the hip. As a rule this is the best plan, 
because it is easier to take in material than to add it, and one is sure not to have a 
pattern that is too small. 

However, if one is proficient in making garments, a skirt pattern may be bought 
by the hip measure, even if too small at the waist, and the waist size may be increased 
in the following way: The increase must be calculated and planned for before the 
skirt is cut. We may find, for instance, a figure with 30 inches waist measure, and 
hips that measure 43 >^. Referring to the "table" we find that the waist measure of 
the pattern of this hip size is 26 inches — four inches less than the waist we are to fit. 

The first consideration is the number of gores in which the skirt is cut, as this governs 
the number of seams at which allowance may be provided in cutting, and the amount 
that may be added at each seam. Another and very important consideration is the 
shape of the figure to be fitted. The same number of inches may result from the meas- 
urement of figures that 
differ entirely in shape. The 
hip measure of the nicely- 
rounded figure with per- 
fectly proportioned hips and 
abdomen may be the same 
as that of another that is flat 
at the front and back, with 
abnormal development at 
the sides; or of still another 
that has unusual abdomi- 
nal prominence with ex- 
treme flatness at the back. 

It will be readily seen that 
the allowance at the seams 
must be so distributed that 
the greater amountwillcome 
where the figure has the 
fullest development. Under 
ordinary circumstances, it is preferable to make no alteration on either the front or back 
gores, but this rule can not be followed when the figure is unusually full at the front. 
In the measurements cited (30 inches waist and 43 3^ inches hip) it is necessary to add 
4 inches to the skirt pattern at the waistline, 2 inches on each side. 

Fig. 201 shows how this amount may be added to a nine-gored skirt. It is a good 
plan to mark the outline of the pattern on the goods, leaving ample material at each 
seam which may be let out where the figure requires it, tapering this amount off to 
nothing at the hipline or six and three-eighths inches below the upper edge. A skirt 
pattern should never be ordered with a hip measure smaller than that of the figure to 
be fitted. 




Fig. 201. Increasing Waist Size in a Gored 5kirt 



LLNGTHLNING AND SHORTENING GORED 5KIRT5.— Measure the length of skirt at 
the center front from the natural waistUne to the floor and compare with the correspond- 
ing measure of the pattern. 

To Shorten a gored skirt, lay a plait straight across each gore of the pattern about 
six inches below the hipline (six and three-eighths inches below the upper edge, the 
three-eighths of an inch being the seam allowance at the waist). (Fig. 202.) If the gores 
are cut with one straight edge, measure at the straight edge, or, if both sides of the 
gores are bias, measure along the line of perforations that indicate a lengthwise thread 
of the goods. If the figure is full, the slope of the gores at the bias side should be 
filled out from the folded plait to the hip; but if the figure is slight, this little extension 
may be taken off. 



THL BEST METHOD OF ALTERING PATTERNS 



71 



To Lengthen a gored skirt, cut each gore straight across, six inches below the hipline. 
(Fig. 204.) The two pieces are then laid on a large piece of paper and separated, the space 
between them giving the necessary length to the skirt. They are then pinned in place. 
To alter the length of a gored plaited skirt, follow the same principle as for the plain 
gored skirt. Then make new lines through the pei'forations 
that show the lines for the plaits. Place one end of a yard- 
stick at a perforation near the hipUne, and the other end at 
the corresponding perforation near the bottom of the skirt, 
and mark with a pencil. A new line should be made for each 
plait so that you will be sure to keep them even. (Fig. 203.) 

If, as is rarely the 
case, it should be neces- 
sary to alter the length 
of a skirt as much as 
four or five inches, it is 
best to take half of the 
amount out below the 
hips as explained above, 
and to take the remain- 
ing half off at the lowei 
edge of the skirt. 

It will be found an aid 
in cutting correctly if a 
ruler or yard stick is laid 
on each piece of the pat- 
tern, its edge touching 





Fig. 202. Shortening a Plain 
Gored Skirt Pattern 

each of the perforations 
that indicate the way the 
pattern should lie on the 
goods, and a heavy pencil 
mark made along the line 
formed by the ruler. This 
question of the grain or 
thread of the goods is a 
very important one. Some 
skirts are cut with one 
straight and one bias edge 
on each gore; others have 
two bias edges. It all 
depends on the design of 

the skirt. The only safe plan to follow is the line of perfora- 
tions marking the grain on the pattern. Measure from 
each end of the line to the selvage of the goods, and move the 
pattern until both ends of the line are the same number of 
inches from the edge. 

ALTERATIONS FOR A ROUND OR PROMINENT ABDOMEN [^ 
OR HIPS— Right here we wish to meet the needs of women 
who are not of average shape and who do not stand well. They 
are the women with the slightly rounded abdomen, the decid- 
edly prominent abdomen or prominent hips. On the woman with a slightly rounded 
or prominent abdomen, the skirt, if unaltered, will stand out in front to a greater or 
less degree according to the size of the abdomen. 



Fig. 203. Shortening a Plaited Gored 
Skirt Pattern 




Fig. 204. Lengthening a Gored 
Skirt Pattern 



72 



THL DRESSMAKER 



On the woman of the third type, the prominent hips will make the skirt stand out 
at the sides. All these women, as a rule, have flat backs. A small pad worn under 
the corset at the back will fill in the hollow of the figure below the waistline. For these 
three types of figures it is advisable to experiment with one-half of the skirt cut of 
cheap lining cambric. Then after finding just what changes are necessary to fit the 
figure, the good material may be cut without fear of making mistakes. 

For the first type (the woman with the round abdomen), take the side-front gore of 
the pattern and mark the hipline on it six and three-eighths inches below the upper 
edge. At the hipline on the back edge of the gore, take up a dart-shaped plait, one- 
quarter of an inch deep and tapering away to nothing, three-eighths of an inch from the 
front edge of the gore. (Fig. 205.) This quarter of an inch may seem to you an altera- 
tion unworthy of attention, but it will change the entire balance of the gore. If it is 
necessary, in a skirt of many gores, do the same thing to the next side gore, but do not 
go back of the hip. In making this alteration you can keep increasing the size of the 
dart-shaped plait until the back edge of the gore above the hip forms a straight line 
with the back edge below the hip. (Fig. 205.) Stop at that point, for the back edge 
must never become hollow or concave. 

In Fig. 207 may be seen, also, the allowance that should be made at the top of the 
front and side gores when the abdomen is prominent. In this case it is not enough to 
allow extra width only, but each gore must be extended an inch or more at the top, 
gradually decreasing to nothing at a point over the hips. Extending the gores up an 
inch will make the waistline small- 
er, so the side edges of the gores 
must be increased to keep the waist- 
line exactly the original size of the 
pattern. It is a good plan to out- 
line the original pattern on your 
material as a guide in fitting, but 
leave suflScient material around it 
to raise the waistline and widen 
the gores as much as may be 
necessary to fit the prominent ab- 
domen and let the skirt drop in a 
straight line to the floor. If the 
figure is full in front, all garments, 
whether dresses, petticoats or draw- 
ers, should have this allowance 
left at the top of the front when 
cutting. 

For the third type (the woman 
with the prominent hips), select 
from the pattern the gore with its 
front edge coming over the fullest 
part of the hips. It may be nec- 
es.sary to pin the pattern together 
in order to find the right one. This 
gore must be altered in exactly the 
same way that the pattern was alter- 
ed for the round abdomen. (Fig. 
206.) If necessary, in a many- 
gored skirt, the next gore toward 
the back may be altered in the 
same way, but the shape of the back gore should never be changed in altering a skirt 
to fit a prominent hip. After having tried in cheap material any of these alterations that 
are necessary for the type of figure to be fitted, and made sure that the skirt drops 
in a straight line all around from the hipline to the floor, it is safe to cut the material 
by the altered pattern. These principles apply to any gored skirt pattern. 

FOR A CIRCULAR SKIRT PATTERN, it is best to order the pattern by hip 
measure, as the alterations may easily be made at the waist when the hip measure is 





Fig. 205. Alteration for Round 
Abdomen 



Fig. 206. Alteration on Side 
Gore for Prominent Hips 



THL BEST METHOD OF ALTERING PATTERNS 



73 



correct. A well-cut circular skirt pattern without darts allows from one to two 
inches extra size, more than the waist measure, on each half of the pattern. This 
fulness should be eased into the belt over the hips, and the fulness shrunk away after 
the skirt is finished. When fitting the skirt, mark on the waistline where the fulness 
should be distributed, and gather this portion to the required size with fine stitches 




Fig. 207. Increasing Waist Size, with Extension for Prominent Abdomen 

on a strong thread. Dampen the material, or place the wet sponge cloth over it and 
press it over a tailors' cushion such as shown on page 128, repeating the process until 
the cloth has shrunk to the correct size. (Fig. 208.) This must be done very carefully in 
order not to leave any "bubbles" in the cloth. 

If the waist needs to be made very much smaller than the pattern, it may be necessary 
to make one or two small darts, but if only a small reduction is required, it may often 
be shrunk in. If the waist size is to be increased, no alteration is necessary. There 
will simply be less material to ease into the belt. In a circular skirt with darts, if the 
waist size is to be made smaller, it can be done by taking in the darts. If the waist size 
is to be increased, the darts may be let out. In a circular skirt pattern of the correct 
hip measure it should not be necessary to make an alteration of more than one inch 
at the hips on the whole skirt. This alteration may be made at the center back. 

To Alter the Length of a circular skirt, it is 
best to make the change at the lower edge. 









"* l''/"|/'|f V 

Fig. 208. Shrinking Out Fulness in Circular Skirt 

For a woman having a slightly rounded or 

decidedly prominent abdomen, an alteration is 

required to provide for extra length at the top. (Fig. 209.) If this provision is not 

made in cutting, the skirt will draw up in front and stand out in a very ugly manner. 

It will be found that according to the prominence of the abdomen, from one-half 
to one and one-half inches will have to be added to the top of the pattern in front, 
gradually decreasing to nothing at a point over the hips, to make the skirt drop in 



Fig. 209. Extra Length at Top of Circule 
Skirt 



74 



THE DRESSMAKER 



a straight line from the fullest part of the abdomen to the floor. To do this, it is best 
to outline the edge of the pattern with chalk or thread, and leave sufficient material to 
raise the waistline as much as may be necessary. (Fig. 209.) In extreme cases it may 
be necessary to put a dart at the center front, but usually a slight easing of the skirt 
into the belt across the front will be sufficient. 





POINT AT HIP LINE 

OVER FULLEST PART 

OF HIP 



Fig. 2 1 0. When the Hips Are Large 

FOR A FIGURE WITH PROMINENT HIPS, it is necessary to increase the amount 
eased in the belt, or increase the size of darts over the fullest part of the hip. Mark the 
hiphne on the pattern six and three-eighths inches below the upper edge. At the hip- 
Hne on the back edge of the pattern take up a 
dart-shaped plait about one-half inch deep and 
tapering away to nothing at a point just over 
the fullest part of the hip. Slash the pattern 
from the upper edge, through the darts, to the 
hipline, to make it lie flat. ' (Fig. 210.) The 
darts should be kept the original length. 

ALTERING LENGTH OF BOYS' PATTERNS— 

When a boy of five or six years has the breast 
and waist measure of a nine-year-old size, even 
though he has the height of a six- year-old, it is 
better to get a nine-year-old pattern and 
shorten the coat, the sleeves and trousers. 

The Coat and Sleeves Are Shortened in practi- 
cally the same way as already shown in the 
woman's waist. 

To Shorten the Trousers considerable care is 
needed in determining just where the alteration 
should be made. The length of the underwaist 
to which they fasten has a great deal to do 
with their length when worn. It is well to 
measure an old pair of trousers on the child, 
taking the measure from the waist to the crotch 
and then to just below the knee, allowing for 
the extra fulness to fall over the knee in knick- 
erbockers. Any alteration in length above 
the crotch should be made across the pattern below the extension for the pocket open- 
ing, changing the seam edges as little as possible. In the lower leg part, fold the plait 
across above the extension piece at the lower part of the leg. (Fig. 211.) 




Fig. 211. Shortening the Pattern of Boys' 
Knickerbockers 



CHAPTER XV 

UNLINLD WAI5T5 



SEPARATE unlined waists are made from a great variety of materials, sheer batiste, 
lawn, handkerchief linen, etc., silks of all descriptions and many of the soft woolens. 
For Trimming a lingerie waist the combination of two kinds of lace, fine and 
heavy, or of lace and embroidery, is very effective. Fig. 212 shows a waist made of 
linen, cut from a perfectly plain pattern, clos- 
ing in the back. The first step in making 
this waist is to cut the front and back pieces; 
baste the seams and fit the waist to the figure. 
Stitch the shoulder seams. Now open the 
under-arm seams; lay the waist out flat on the 
table, and baste or pin the insertion in place, 
following the design illustrated, repeating it at 
the back. 

Draw the pull-thread in the lace where the 
curve requires a slight gathering to make it lie 
flat At the corners turn the lace sharply, and 
miter carefully. (Instructions for making 
mitered corners are given on page 11.) Then 
sew the edges of the fine and heavy lace 
together with an overhand stitch. The free 
edges of the lace are basted to the material 
and stitched down by machine as close to 
the edge as possible. 






Fi$. 213. Tucked Waist with Insertion and 
Hand Embroidery Trimming 



Fig. 212. Ornamentation of Lace and Embroidery 
Insertion, Medallions and Hand-Embroidery 

Cut out the material from under the lace, 
leaving a narrow seam's width at each side. 
This edge may be turned back and stitched 
flat by a second row of stitching, leaving 
a raw edge. Or, it may be overcast closely 
with the raw edge rolled in to prevent any 
possible raveling. Fig. 214 on the following 
page shows a medallion decoration set in in 
this way. Sometimes, where two finished 
edges come together, they are lapped and 
stitched together as illustrated in Fig. 215. 

A waist made from a pattern that allows for 
tucks is shown in Fig. 213. They should be 
made before the lace is applied. The waist 
itself is put together like a plain waist. 

When all the trimming on the waist has been 
securely fastened in place, the under-arm 
75 




THL DRL55MAKLR 



Fig. 2 1 4. Finishing the Underside of 
Medallion Inset 

a piece of featherbone or celluloid should be 
placed on a slant, at each side of the cen- 
ter front, as shown in Fig. 216. A second 
bone is placed two and one-half inches 
from the end on each side; and a third 
bone at each end. 

A SHIRT-WAIST is a type of waist model- 
ed on the style of a man's shirt. Shirt-waists 
are usually made of linen, madras or flannel. 
A good pattern for the beginner is a perfectly 
plain design having slight fulness at the 
waistline. Though a shirt-waist needs care- 
ful fitting, not so much skill is required in 
making it, and it is quite possible to fit 
oneself. 

Always open the pattern, identify each 
piece and get a clear idea of the construction 
by reading the instructions carefully before 
beginning to cut into your material. This 
care at the beginning will make the work 
easier and save mistakes and consequent 



seams are again closed, stitched by machine 
and finished in the usual manner. 

The Collar, which is preferably attached 
to the waist, may be made of alternate rows of 
the fine and heavy lace. Cut a fitted collar 
pattern of stiff paper, turning under a seam 
at the top and bottom. On this paper col- 
lar baste the insertion in place, right side 
down, drawing the pull-thread sufficiently 
to give it the proper curve. Overhand the 
edges together and then remove the collar 
from the paper. 

A narrow seam beading is used to join the 
collar to the waist. Trim the material away 
from the upper edge of the beading, and 
overhand this edge carefully to the lower 
edge of the collar. Baste the lower edge of 
the beading to the neck edge of the waist and 
stitch in a French seam. 

To keep the collar from becoming crushed. 




Fig. 215. 



Medallion and Inserlion Set in 
by Machine 




Fig. 2 1 6. Showing Position of Stays in Collar 



waste of material. In cutting out the shirt- 
waist, mark all notches and perforations. 

In Tucked Shirt-Waist Paiierns, it often 
happens that the fronts are too wide to be 
cut from one width of the goods. In this 
case it is necessary to piece the material. 
Take care that the seam comes where it will 
not show. In Fig. 217 the right front of a 
shirt-waist is shown pieced in this way. The method of piecing is easily understood. 

The pattern should be laid on the material, and the best place to make the joining con- 
sidered carefully. It will depend on the width of the goods and the style of the shirt-waist. 
In some cases it may be made at the stitching of the last tuck, but in others this tuck is not 
stitched to the waist line but terminates at yoke depth; consequently this seam would 
not be hidden. 

In the model illustrated the best place proved to be at the stitching of the first turn- 
back tuck on the right front. According to the pattern instructions, one inch back 
of the fold edge of the tuck is the stitching line^ as the tucks are one inch wide. Mark 



UNLINLD WAISTS 



the stitching line with chalk, allow three- 
eighths of an inch beyond it toward the 
front edge for a seam, and cut off the 
rest of the material. 

A piece wide enough to complete the 
front must be joined at the stitching line, 
and when the tuck is made, both raw edges 
of this seam should be turned to one side 
and included in the tuck so that the seam 
is completely hidden on both the outside 
and inside of the waist. A piece suffi- 
ciently wide to enlarge the front breadth 
is sometimes left from the width from 
which the back is cut. The left 
front of the waist is turned under 
for a hem, as directed in the pat- 
tern instructions, and stitched. 

The Gibson Tuck in a waist ne- 
cessitates joining the shoulder seam 
first before basting in the tuck. 
This leaves the tuck free across 
the shoulder seam (Fig. 218), and 
in basting in the sleeves the tucks 
can simply be turned toward the 
neck out of the way as illustrated. 




Fig. 217. Hiding the Joining Seam in Front of 
Tucked Shirt-Waist 




Fig. 218. Basting in a Gibson Tuck 



Make the closing for the box plait or turn under 
the edge for a coat closing, on the right front, and a 
hem on the left front, as directed. 

The direction may be readily understood by re- 
ferring to Figs. 219 and 220 on the next page. The 
coat closing is finished by turning both hems toward 
the wrong side and stitching. (Fig. 222.) 

If the waist is to have a blind closing, a fly must be 
applied to the closing edge. The fly should be made 
double, folded lengthwise through the center, and 
a seam turned in at each edge. The fold edges are 
basted together and then sewed in position. (Fig. 221.) 
Stretch the edges of the fronts at the neck and 
at the shoul- 
der, between 
the middle of 

the shoulder and the neck, to make the waist fit 

into the hollow of the figure around the collar- 
bone. Baste the shoulder and under-arm seams 

toward the outside through the lines of perfora- 
tion with the notches matching. Gather the back 

and fronts at the waistline perforations and baste 

to the belt stay unless the fronts are to hang free 

under the belt. Try on, lapping the fronts. 
Any necessary alterations in the shirt-waist 

should be made at the shoulder and under-arm 

seams, never at the front. A little adjustment at 

the shoulder seams will often correct what appears , -,. ^ 

at first to be an ill-fitting shirt-waist. Stitch i ^V, 

three-eighths of an inch outside of the basting on 

the right side of the waist at the shoulder 

and under-arm seams. Trim off the edges 

close to the line of stitching; turn the waist to Fig. 219. Making the Box Plait 





fig. 220. Finished Lffect of Box-Plait Closing 



will be difficult to adjust the 
Shirt-waists are usually made with a band 
finishing the neck of the waist and worn with 
a separate linen collar. In making the 
band, cut two sections by the collar-band 
pattern and place them together with the 
right sides face to face. Baste an even 
three-eighth-inch seam at the top and ends, 
turn the band right side out and crease and 
baste the edges flat. Baste the inside section 
of the band to the neck of the waist with the 
seam on the right side. Turn the seam up, 
turn in the remaining edge of the band fully 
covering the seam and stitch the outside, 
continuing this stitching all around the band. 
Fig. 221 shows the neck-band sewed to 
the neck of the waist. It will be seen that 
the wide lap from right to left requires that 
the neck-band be longer on the right side 
than on the left, measuring from the center 
back. If the band supplied with the pattern 
is not the right size of one's neck, alterations 
should be made at the center back, cutting 
the pattern straight across and basting a 



THL DRE,55MAKLR 

the wrong side, and stitch again in a French seam. 

If the under-arm seams have been let out or 
taken in, the notches in the top of the sleeves 
must be altered correspondingly. For instance, 
if the under-arm seam has been let out one inch, 
raise each notch in the sleeve half an inch. The 
lower part of the sleeve is purposely cut larger 
than the lower part of the waist so that the sleeve 
will not draw on the waist. 

If the armhole of the waist is too small do not 
cut it out recklessly. Try snipping the material 
at intervals around the armhole three-eighths 
of an inch or so. This will allow the armhole to 
spread on the arm, and will show how much to 
cut away. 

The Neck requires care. It should not be trim- 
med out too much. The neck-band should fit 
the neck closely, though not too tightly, or it 
collar. 




Fly, Buttons and Necic-Band 




Fig. 222. Finished Lffect of Coat Closing 



Fig. 22 I 

piece of paper in the space to make it larger, or 
lapping it at the center to make it smaller. 

The buttonholes which should be worked in the 
front of the neck-band and at the back, when 
the waist is worn with a linen collar, are shown 
in the illustration No. 221. 

A back yoke may be applied to the waist as 
shown in Fig. 223 on next page. 

If the fronts are to hang free, baste a tape across 
the back of the waist, and adjust the fulness over 
the front under the tape. Many prefer this plan, 
since it lessens the trouble in making and laun- 
dering. 

Where the waist is very full in front or is made 
of heavy material, the front portion is frequently 
cut away below the waistline where the gathers 
begin, and the fulness gathered into a band. 



UNLINED WAISTS 




Fi$. 223. Method of Applying Yoke 



method is shown in Fig. 227, on the next page. 

Another method of finishing the fronts is 
to cut across the fronts just above the lower 
edge of the strip stitched to the inside. 
(Fig. 225.) The cut must extend only as far 
as necessary to take out the extra fulness. 
The uneven upper edge of this piece may be 
trimmed and turned in and hemmed down 
to the part from which it was cut, providing 
sufficient length to hold the waist down. 
(Fig. 226.) A row of stitching should be 
placed at the lower edge of the inside band. 
The band will cover the raw edges of the cut 
portion at the front. This finish does away 
with the bulky material below the waistline, 
which is apt to spoil the set of a close-fit- 
ting skirt. The bottom of the waist is fin- 
ished with a narrow hem. 

The extension below the waist at the 
sides may have to be slashed to prevent its 



79 

This band is an inch deep, when finished, 
and is cut a trifle bias in front. Fig. 224. 

Be careful not to draw the line of the 
seam joining the front and back out of 
place. The material, which is slightly bias 
under the arm, should be drawn smoothly 
toward the front as far as it will reach, 
and pinned at the waistline. The tucks 
may then be lapped over each other unless 
the fulness is gathered or laid in overlapping 
plaits and the waist drawn down or bloused, 
as preferred. 

The tape should be pinned carefully, fol- 
lowing the waistline. When the waist is 
taken off, baste the tape in place. Then 
take either a strong twill tape or a narrow 
strip of the material with the ends turned in, 
and baste to the inside of the waist, follow- 
ing the line of the upper edge of the tape on 
the outside. Then remove the outside tape 
and stitch the upper edge of the inside tape 
to the waist, after disposing of the fulness 
at the back by making two rows of gathers 
as far apart as the width of the tape. This 




Fig. 224. Fulness below Waistline Dispensed 
With in Band 




drawing over the hips. If preferred, a 
circular peplum such as is given in a corset 
cover pattern, may be used. The peplum 



Fig. 225. Tucks Cut Away below Waist 




Fig. 226. Extension Joined -to Waist 



80 



THE DRL55MAKLR 



is sewed to the bottom of the waist to hold it 
down properly. For waists having no fulness at the 
back, the peplum is used to give the proper spring 
below the waistline. 

Sew buttonholed rings at the back of the waist 
belt, as shown in Fig. 227. If two are used, each ring 
should be an inch and one-eigb th from the center back. 
Or, one can be placed at the center of the back with 
the others two inches apart. Hooks are sewed with 
the same spacing to the in- 
side of the skirt belt. Do not 
use hooks any larger than are 
necessary to fit into the rings. 





Fi$. 227. Gathers and Buttonholed Rin^s 
at Back of Waist 



If rings are not procurable, ordinary eyes may be substituted. 
For the Slash in the Sleeve sew the underlap piece to the back 

edge of the slash with the seam toward the right side. Crease 
the seam on the lap, turn the lap 
at the perforations; baste down, 
entirely covering the joining, and 
stitch. Join the overlap piece to 
the front edge of the slash in the 
same manner. (Fig. 228.) Adjust 
the overlap so that it will con- 
ceal the underlap and baste it in 
place. Stitch all around the over- 



Fig. 228. Method of Apply- 
ing Laps to Sleeves 




Fig. 229. Finish for Link-Button 
Closing 




lap, following the 
shape of the point. 
At the top of the open- 
ing the stitching 
should cross the lap 
and catch through 

the underlap, securely holding the opening in 
correct position, as shown in Figs. 229 and 230. 
A Continuous Lap is often used to finish the 
slash at the cuff opening. This lap is made by 
sewing a straight strip of the material continu- 
ously along both edges of the slashed opening, 
the strip of material being the same width all 
its length. (Fig. 231.) f he other side is turned 
over and hemmed by hand or machine-stitched, 
to cover the first seam. This lap is shown in Fi: 
the sleeve is gathered this lap is turned under at the front or overlapping edge of the 
opening and extends on the other side to form an underlap. 

Join the long edges of the sleeve in a French seam and 

gather the bottom. Cut two sections and an interlining of 

coarse linen or muslin for each 

cuff. Baste the interlining to 

the wrong side of one of the cuff 

sections. Then baste the second 

cuff section to the first with the 

right sides facing each other, 

stitching along the two ends and 

lower edge. Trim off the seam 

at the corners and turn the cuff 

right side out, making sure that 

the corners are as neat as pos- 
sible. Baste along the seamed 



Ffg. 230. Finish for Lap Closing 

232. When the lower edge of 





VU 



I: 






Fig. 23 1 . Method of Applying 
Continuous Lap 



Fig. 232. Position of Contin- 
uous Lap and Cuff 



UNLINED WAISTS 



81 




Fig. 233. Binding the Armhole 



edges SO that the cuff will be easy to handle in sewing 
it to the sleeve. 

Baste the upper edge of the outside and interlining 
to the sleeve and overlap, but not to the underlap 
in a link cuff (Fig. 229), and to the sleeve, overlap 
and underlap in a lapped cuff. (Fig. 230.) Then 
stitch, pushing the sleeve fulness well toward 
the end of the cuff. Turn the seam down and baste. 
Make a narrow turning on the inside of the cuff and 
baste in position, covering the seam. Stitch around 
all the edges of the cuff from the outside. For con- 
venience in handling it is better to turn the sleeve 
wrong side out before making this stitching. 

The notches at the top of the sleeve show where 
the gathers begin and end and where they are placed 
on the waist. The fulness should be fairly evenly dis- 
tributed, but more of it should be pushed to the top 
of the shoulder than to the front and back. In sew- 
ing in the sleeve, hold the sleeve side toward you so that the gathers can be handled 
ea.sily in basting. 

Baste the sleeve to the armhole. If the material is too heavy for a French seam, make 
the seam toward the inside and cover it with a narrow bias strip of lawn. (Fig. 233.) 

The shirt-waist is now ready for the buttonholes. In the box plait they are worked up 
and down through the center with a bar tack at each end. (Page 13, Fig. 49.) In the 
neck-band they are worked lengthwise. The buttonhole at the center back is worked 
one-quarter of an inch above the stitching and has a bar tack at each end. Those at 
the ends of the band are worked a corresponding distance above the stitching, but with 
a round front end above the center of the box plait. (Page 14, Fig. 50.) The button- 
holes in the cuff are cut one-half inch in from the edge and about in the middle of the 
cuff. They are worked with one round end and one bar tack. 

If a detached collar is desired, cut two sections and an interlining by the collar pattern. 
Stitch together on the outside edges. Turn, and baste the bottom of the collar and its 
band with the seam toward the wrong side, and then stitch. Hem the outer edge over to 
the line of stitching. Stitch around the outside of the collar and work buttonholes 
corresponding to those on the neck-band of the shirt-waist. 



T 



CHAPTER XVI 

LINED WAI5T5 

HE. CONSTRUCTION of a lined waist requires the most minute attention to every 
detail. If great care is given to the work one can feel sure of satisfactory results. 
For a draped waist the lining is made separately, fitted, and the seams pressed 
open and boned before the outer material is adjusted. 

THE LINING is the foundation of a fitted waist. When cutting the lining, lay the 
perforations indicating the lengthwise thread of the material parallel to the selvage. If 
the directions are not followed exactly in this respect the waistline of each section of the 
pattern will come on the wrong thread, and the lining will stretch out of shape. 

Some dressmakers advocate cutting cotton linings crosswise of the material, but they 
do not cut to advantage this way. The argument is that material used crosswise will 
stretch very little, if any, and the lining may be strengthened by making it double at the 
points where the greatest strain will come. 

A waist lining should be reenforced for a stout figure in the following way : Before 
cutting out or closing the dart seams, baste an extra piece of lining from the front of the 
waist to the second or back dart, and reaching from the top of the dart to the bottom of 
the lining. (Fig. 239.) Now cut up the center of each dart between the rows of per- 
forations, then bring the tracings of these perforations together, and, beginning at the top, 
baste the darts and include the stay pieces in the seams. A waist fastening at the back 
has the back portions reenforced to a corresponding height. 

At the seams of the under-arms, the shoulders and the darts, mark the sewing line by 
running the tracing-wheel along the line formed by the large perforations. Do this when 
cutting the lining and while it is double, so that both sides may be marked exactly alike. 
Mark with a colored thread the perforations that indicate the waistline and also 
those marking the elbow in the sleeve portion. Baste the seams of the lining together 
with their notches matched, the outlet seams through the perforations and the other 
seams three-eighths of an inch from the seam edges. 

Baste the under-arm and shoulder seams toward the outside for the first fitting, for it 
is at these seams that the greatest alterations are usually made. Put the lining on 
and draw it toward the front, bringing the two raw edges together. Pin them in a 
seam, placing the first pin at the marks indicating the waistline. Smooth the lining over 
the figure at both the front and back, and be careful that the waLstline of the lining is at 
the waistline of the figure. Make alterations at the under-arm and shoulder seams and at 
the front edge if necessary. Draw the lining up well at the shoulder seams; but not enough 
to draw it from the correct waistline. It may be fitted at these seams a little more snugly 
at the final fitting. 

Sometimes after the shoulders are carefully pinned there will be wrinkles in the front, 
between the shoulder and the neck. These are caused by the natural hollow of the 
shoulder. In this case the shoulder seam must be ripped open and the front stretched 
to the back from the center of the shoulder to the neck. Wrinkles at the back near the 
neck are often caused by the lining being too long-waisted in back. Or the shoulder seam 
may have been sloped too much, especially if the person is very square-shouldered. It 
is always better to rip the bastings and pin the seam over again. 

If the waist draws to one side it is because the waistlines have not been pinned together 
at the line of bastings. The top of the darts must come just below the curve of the 
bust, and they may be raised or lowered if necessary. 

If the armholes feel too tight, be very careful not to gouge them out under the arms or 
around the front, or the waist may be ruined. The best plan is to snip the armholes for 
about three-eighths of an inch. This will give sufficient spring for the arm, and the sleeve 
can be stitched in just beyond the end of the snippings. If, however, this does not give 



LINED WAISTS 



83 



sufficient ease to the armhole, pare the edges off a little and snip the seams a trifle deeper. 
The same caution applies to the neck. 

Pin the alterations and mark carefully along the line of pins with tailors' chalk. Re- 
move the pins and run the tracing wheel through the corrections, keeping a well-shaped 
line for the seams. Mark the lines on each piece with a colored thread, as the tracing 
marks are apt to fade. Transfer the alterations to the other side of the waist by using the 
corrected side as a pattern. Baste the seams again, this time with the seams toward the 
inside. Stitch the seams just outside the bastings so as not to make the waist any smaller, 
bearing in mind that the sewing of the seams will tend to tighten them. It also allows the 
bastings to be drawn easily, for if the seam is stitched directly on top of the bastings, 

both rows will be so interwoven that it will be 
almost impossible to pull them out. 

In stitching side-back seams always have the 
back next the feed of the machine and the side- 
back next the presser foot, and hold the parts 
well up at each end of the presser foot. Other- 
wise the side-back seams are liable to pucker or 
pull when being sewed. 

In making seams in which one portion is full- 
ed on to another, place the full portion next the 
feed, or downwards, because if it is placed next 
the presser foot, the latter is liable to shove the 
fulness out of place. Notch the seams at the 
waistline and two or three times above and 
below it enough to allow them to lie flat when 
pressed. Bind the seams neatly with taffeta 
seam binding run on loosely, and press them 
open. Some di'essmakers prefer to overcast the 
seams, and most of the imported French 
dresses are finished in that way, but it does not 
present as neat a finish and takes a great deal of 
time, as the overcasting must be done closely 
and carefully. 

Many linings, especially those of taffeta, are 

simply pinked. Fig. 23 4 shows a seam edge bound, 

another overcast, and a third notched and ready 

to bind. It also shows the notching necessary to 

make the side seam lie flat when it is pressed open. 

When no hem is allowed at the closing edge of 

the lining, it is necessary to face it. Cut two 

pieces of the lining material in the same outline 

as the front or back — wherever the opening 

comes — and two inches wide. Baste one on the 

outside of each front or back, stitch a seamed edge, and turn the facing over toward the 

inside. Place a row of stitching one-eighth of an inch inside the edge and another far 

enough inside the first to allow a whalebone or featherbone to be slipped in. 

If a hem is allowed at the closing edge, turn it over toward the inside of the lining and 
make the two rows of machine stitching form a casing for the bone. If the waist has a 
back closing, the hem or closing line is usually indicated by a notch at the neck and an- 
other at the bottom of the pattern. Fold a line from one of these notches to the other, 
keeping the hem an equal width, and with a thread of different color from the lining run a 
basting along the edge of the fold. Later this will be turned over for the closing. ^ 

Make a stay for the hooks and eyes from an extra strip of taffeta or thin lining, two 
inches wide. Fold lengthwise through the center and place it on the inside of the lining, 
with its fold at the tracing thread which marks the closing. Turn over both thicknesses 
of the tracing and baste. Then stitch with one row of stitching an eighth of an inch back 
from the edge, and another row about three-eighths of an inch inside of that. The 
method is shown in Fig. 234. Pin the fronts together with the waistlines even. Place 
a tape measure along the front edge and with the tracing-wheel mark the position for 
the hooks and eyes at every inch point, beginning one inch below the neck. 




Fig. 234. Notched Seams Before and After 
Binding 



84 




THL DRE55MAKLR 

Whalebone can be bought in strips one yard long. 
About three yards are required to bone a waist. Get a 
medium-weight quality and let the whalebone soak in 
tepid water to soften it so the needle can be passed 
through it. Do not use hot water, as it will make the 
bone brittle. 

Round the ends of the bone and shave them for half 
an inch to make the ends thinner, using a dull knife 
or the blade of the scissors. Slip a bone into the cas- 
ing at each side of the closing, allowing it to reach 
within an inch of the top of the first dart, and sew 
through the lining and bone near the top to hold it in 
place. 

The seams should then be boned. Whalebone or the 
uncovered featherbone should be slipped into a bone- 
casing. Mark on each seam the 
point where the bone is to start. 
From five inches above the 
waistline is the rule, to one- 
quarter of an inch above the fin- 



Fig. 235. Applying Bone Casing 

ished edge of the waist. Pro- 
cure a piece of single bone-ca- 
sing or Prussian binding, as it is 
called. This may be had in 
several colors, but black or 
white is to be preferred. Dou- 
ble over one end an inch and 
over-hand the edges together 
to make a little pocket. Do 
not sew this pocket fast to the 
seam, but begin three-quarters 
of an inch down from its fold 
and sew the casing on with a 
running stitch. (Fig. 235.) 

Sew both edges, holding the 
casing somewhat full and keep- 
ing it over the middle of the seam. 

Run the bone into the pocket at the bottom of each 
casing and fasten it at the top by sewing through both 
bone and casing. Sew through again three inches above 
the waistline. Then push the bone very tight, so it 
will stretch out the seam and give a curve at the waist 
(Fig. 236), and sew again there. If the finished edge 
extends below the waistline, fasten the bone again one- 
half inch from the bottom. (Fig. 236.) Do not spring 
the bones in the front so much as at the sides and back. 
The greatest curve is required at the under-arm seams, 
less at the front and back. 

For Covered Featherbone, the method of boning a waist 
stitched to the lining by machine, without an applied casing. 




Fig. 237. Hem or Facing Covering 
Hooks and Lyes 



somewhat different, since it is 



LINED WAISTS 



85 




Fig. 238. 



Facing the Bottom of the Waist 



The seams of the lining are pressed, bound and marked as for whaleboning. The cover- 
ing is ripped about half an inch on one end of the featherbone, the bone is cut away, and 
then the covering is turned over the end, giving it a neat finish. This end is placed over 

the seam at the mark. Keep the center of the bone 
over the seam; stitch it in position. Care must be 
taken to push the bone up and draw the lining 
down while stitching, as otherwise the lining is 
likely to be held in on the bone, causing it to 
wrinkle. Its inexpensiveness and convenience are 
qualities that have made featherbone very popu- 
lar with dressmakers. It is obtainable in many 
different styles, and in twelve and thirty-six yard 
lengths, so that it can be used without waste. 
The bone is cut off a trifle shorter than the mark 
for the length of the waist. 

The hooks and eyes, alternating, are sewed on 
after the bone has been slipped into the casing. 
(Fig. 237.) Separate the two rings of the hooks at 
the back to make the hooks lie flatter. Place them well inside the edge; sew through the 
two rings and also around the end of each hook — this latter to the row of stitching nearest 
the edge. Sew completely through, to in- 
sure durability, allowing the stitches to go 
through to the right side. Be careful when 
sewing the hooks and eyes on the second 
side of the front to have them exactly cor- 
respond in position to those on the oppo- 
site side. 

When all the hooks and eyes have been 
sewed on, turn back a seam at the edge of 
the facing piece, and hem it over by hand 
to the row of stitching nearest the edge, 
thus covering the stitches for the hooks and 
eyes, as shown in Fig. 237. 

Many dressmakers prefer to have all the 
hooks on one side and the eyes on the other 
side. If this method is preferred, take 
great care that the hooks and eyes are 
sewed on in such a manner that the waist 
will not gap. The bill of the hook must be 
one-quarter of an inch back from the edge 
of the waist and sewed on firmly through 
the lining at both rings and bill. The eye 
should extend just far enough beyond the 
edge to be easily hooked — one-eighth of an 
inch — and should be sewed firmly at the 
rings and at the edge of the material. The sewing of the hooks and eyes will give a 
trifle, even with the greatest care, when the waist is worn. 

Hem back over the hooks and eyes the silk or percaline of the hem or facing, bringing it 
close up under the turned-over part of the hook, and covering the sewing. 

Baste an inch-wide bias strip of soft crinoline around the bottom of the waist three- 
eighths of an inch from its lower edge on the inside. Turn 
the edge of the waist under a seam's width and catch-stitch 
it to the crinoline. Cut a bias strip of lining one and a half 
inches wide. Turn under one edge and hem it down as a 
facing on the turned-under seam at the bottom of the 
waist. Turn under its other edge and hem it neatly to 
the waist covering the crinoline. (Fig. 238.) 

Cut a belt of the webbing which is sold for belting 
Fig. 240. Hoolc and Eye on purposes. Make it three inches longer than the waist 

Ends of Belt Tape measure. Turn back an inch and a half at each end, 




Reenforced Front and Manner of 
Attaching Inside Belt 




86 



THE DRESSMAKER 



sew a hook on one edge and an eye on the other, and hem the raw edges over thera as 
shown in Fig. 240. Mark the center of the belt and sew it to the center- front seam if the 
waist opens in the back — or the center-back, if it opens in the front — and to the next 
seam on each side, with the lower edge of the belt one-half inch above the waistline. (Fig. 
239.) Sew across the width of the belt with a long cross-stitch to the inside of the seam. 
If the material of the waist is thin and transparent, the fitted lining should first have a 
scant draping of mousseline which serves to cover the seams of the waist and holds out 
the outside material. 

Sew the eyes to the back seams of the lining to correspond to the hooks on the skirt, 
making the waist belt overlap. 

THE OUTER WAIST is easily managed if you have a carefully fitted lining for a founda- 
tion. In using material of a width that requires piecing,the place of joining must be deter- 
mined by the design of the waist. The join must come where it will be least noticeable. 
This may be the center front, if the waist has much ful- 
ness at that point. Or, if there are tucks at the side, 
extending from shoulder to waist, the seam may be made 
at the sewing line of one of the tucks. 

The waist is now ready to be draped, the process be- 
ing greatly facilitated by the use of the bust form. In 
the draped waists which are generally worn now, the 
outside material usually is not caught in with the lining 
at any seam except the shoulder seam. However, 
there are occasions when the material is caught in the 
under-arm seams as well. In these instances the under- 
arm seams are not stitched with the other seams of the 
waist, but are left basted until the entire waist is draped. 
The material for the back of the waist, after it is pre- 
pared according to the pattern instructions, should be 
pinned to the lining straight down the center of the back, 
drawn well down and across toward the sides. Pin it 
at the shoulder, the armhole and down the under-arm 
seam, stretching it down that it may lie smooth and flat, 
and placing the pins near enough together to hold it 
well in place. Gather the fulness and draw it toward 
the center of the back. 

The front is then draped on the lining according to the 
lines of perforations and notches at the neck and shoulder. 
Very elastic material may require to be stretched or 
drawn a little more tightly than one of firmer texture, and 
allowance must be made for this fact in matching the 
perforations that indicate where the outer material is to 
be tacked to the lining. 

When the front drapery is arranged from the shoulder 
to the bustline, pin carefully about the armhole, then arrange the drapery below the 
bust; make the rounded part of the bust that lies at the second part of the lining a central 
point from which to work the drapery in both directions. Draw the front drapery toward 
the under-arm seams, turn under the raw edge and fit it in a straight, well-shaped line to 
cover the raw edge of the back drapery. Pin it in place to be sure the line is good. 
After the other side has been draped and pinned in the same manner remove the waist 
from the form and baste by slip-stitching. Stitch the seam by machine and press it open. 
This method is preferred by most people and looks neater when finished than slip-stitch- 
ing, although the latter may be done closely and used as the final sewing if preferred. 

Fig. 241 shows another method of finishing the seam under the arm. The waist is 
draped as directed, but after pinning the drapery in a good line, baste this folded edge 
through the front drapery only. Remove the pins, and place a row of machine stitching 
close to the edge, using silk the same color as the material. Pin the stitched edge in place 
again, stitching it down well. 

Pin the other side in the same manner, remove the waist from the form and stitch by 
hand, taking the stitches through the row of machine stitching made in the front por- 
tion. Try on the waist after draping, because it often happens that boning pushes the 




Fig. 241. The Front Waist-Drapery 

Lapped Across the Back at 

the Under-Arm 



LINLD WAISTS 



87 



Fig. 242. Waist Drapery Sewed to ttie 
Lining 



waist up so that it needs taking up a little more on the shoulders. If it is correct, stitch 
the shoulders. Then press them open and finish like the other seams. 

If the material is heavy, or there is any likelihood of the lower edge of the waist being 
bulky, the material is not turned under the bottom 
p-?^f 1 of the waist, but is sewed securely to the lining just 

I ''^\ j below the waistline, the material cut away below 

I I this line, and the raw edge covered with a piece of 

I I seam binding laid on flat and sewed on both its edges 

[ as shown in Fig. 242. The girdle covers the line of 

I sewing. 

r Never bind the armhole of a lined waist, as the 

I ^#Jf /i >. lining serves as sufficient stay. When a sleeve of 

k^^Bl^^l ^bJ elbow length or an even shorter length is used com- 

^^^^^^BtaflK plete directions for making it wiil be found in the 

j^^^^^^^^Hw pattern 

If the collar is to be of woolen or silk like the gown, 
it should be lined with a piece of soft, light silk. 
Catch-stitch the collar bones to the silk, taking 
care to sew through the silk thoroughly. Turn over all the edges of the collar and 
catch-stitch to the lining. Slip-stitch the lower edge to the neck of the bodice. 

If closed at the left side, the entire collar, except the small portion at the back, is stitch- 
ed firmly to the neck. The neck of the lining at the left side, which is free, is bound with 
seam binding. For a waist with a front closing, bind the left side of the neck with seam 
binding, pin the collar around the right side, with the center of the collar at the front 
edge of the right front, and the right end of the collar at the center-back seam. Sew 
the collar to the neck, being careful not to catch the stitches through the outside mate- 
rial. Sew four hooks on the 
left end of the collar (on the 
inner side) and one to its 
lower edge about half-way 
between the center front and 
back. 

Cut the facing (preferably 
of silk) the same shape as the 
collar. Turn in the edges of 
the facing and hem it to the 
collar on the left side, and to 
the neck of the right side of 
the waist. Work four but- 
tonhole loops at the right of 
the collar, and one in the left side of the waist at the neck. The collar and facing are 
shown in Fig. 243. If the collar is made of transparent material, the mousseline de soie 
should be used instead of the silk and the collar may be held up by strips of collar bone. 

For a woman having a very short neck, a high boned collar is an absolute torture. At 
the same time, some support must be given to the collar or it will look wilted and untidy, 
and make the neck seem still shorter and stouter. As the ordinary way of placing the 
bones diagonally at the front does not seem to prevent their poking into the chin, it is a 
good plan to cut two bones about three and one-half inches long, finished. These two 
bones are then crossed. The same method is used if the collar lining is taff'eta silk. 

IN A FITTILD WAIST MADL WITH A YOKE, the yoke is mounted on the lining be- 
fore the waist is draped. The yoke line must be traced through the perforations on the 
pattern to the lining, and then outlined with a colored basting thread as a guide in finish- 
ing the lining if it is to be cut from under the yoke. The yoke and collar are cut by the 
patterns provided for them, and fitted to position on the lining. Usually the yoke is cut 
in one piece, particularly if it is of lace or embroidery. 

If the yoke is in one piece, first cut the yoke of lining material and fit the shoulder seams 
if necessary. Now place the center front of the yoke lining, if the waist opens at the back, 
on a lengthwise fold of the yoke material and cut it in one piece. This brings the yoke 
opening on the bias. If the yoke is of lace, it is better to cut one or two thicknesses of 




Fig. 243. Collar Applied to Neck 



88 THE DRESSMAKER 

mousseline de soie to soften the effect. The mousseline is stretched over the waist 
lining first, and hemmed to the lining three-eighths of an inch below the colored 
thread marking the yoke line. The lining is then cut away, and the edge turned toward 
the mousseline at the traced line and hemmed down. Stretch the lace over the mousse- 
line, carefully basting all points around the neck, arm's-eye and the yoke line. The lace 
is then sewed to the lining at the bottom without turning in the edge. 

The Lace Collar is also lined with one or two thicknesses of the mousseline. Measure 
the correct length and height of the collar and cut one of stiff paper. Mark off the seam 
with pencil. Also mark where bones are to be sewed. 

Cut one or two thicknesses of mousseline like the pattern, and baste to the stiff paper. 
Procure either the bronzebone, which can be bought in the right length, or the narrow 
silk-covered featherbone. If featherbone, cut the lengths so that the casing may be 
slipped back three-eighths of an inch and the bone cut off. Draw the covering over the 
end and turn it back and fasten it. The featherbone is then catch-stitched to the mousseline. 

The edge of the bone should be one-eighth of an inch from the top and bottom of the 
collar. Cover the collar with lace, turn the top down three-eighths of an inch to the 
wrong side and hem, or turn to the right side and cover with applied trimming. The top 
edge must be slit to keep it from drawing. The lower edge is turned to the under side and 
basted to the yoke. It should be tried on and any necessary adjustment made around 
the neck and at the back. 

The collar may be slip-stitched from the right side, or the waist may be turned to the 
wrong side and the collar back-stitched to the yoke, taking care not to take the stitches 
through to the right side. The bone is placed at the right end on the line of marking, the 
edge is turned back one-quarter of an inch beyond the traced line, and hemmed or faced. 
Sew four hooks on the overlapping end, and eyes or silk loops along the other end .n 
corresponding positions. 

The meeting edge of a lace collar and yoke should be appliqued together. To ob- 
tain this effect, the mousseline yoke and collar are first fitted and joined together. The 
edges of the lace are left free at this point, and , by cutting and weaving together, the 
pattern appears continuous. In places where the mesh is too thin to disguise the seam, 
sections of the pattern may be cut from the lace and applied to cover it. 

In a low-neck evening gown the bertha or collar effect is put on according to the 
directions of the pattern. Turn in a seam at the top of the bodice, including the top edge 
of the bertha, the lining and outside waist. Baste the seam in place, then hem over it a 
facing of bias silk three-quarters of an inch wide. Be careful when hemming down the 
lower edge to catch through the lining only. Use this facing as a casing for a narrow 
ribbon, which should be drawn in when the waist is worn, holding it close to the neck. 

THE DRAPING OF THE GIRDLE completes the gown. All kinds of material are 
used, from the heavier velvets and cloths down to the sheerest chiffons, gauzes and ribbons. 
The girdle must, of course, harmonize with the trimming of the gown. 

If the girdle is of silk or velvet, the material is usually cut on a perfect bias, and the 
edges hemmed or catch-stitched. Begin by pinning the center of the girdle to the center 
front of the waist, and draw very firmly toward the back from both sides of the front. It 
is best to pin a part of the draping on each side of the waist alternately, as sometimes the 
bias does not stretch evenly on both sides, and it may be found necessary to move the pins 
at the center front a trifle in order to make the bias draw more naturally. The draping is 
tacked to the lining wherever it is pinned. The back edges can be finished with a small, 
shirred heading which is allowed to extend beyond the hooks in order to cover them when 
the girdle is closed. 

When the waist is to be worn inside of the skirt, the girdle is usually separate. Cut 
pieces of featherbone the desired length for the front, back and sides. Hooks and eyes 
are sewed firmly to the two featherbones used at the back closing. Cut a piece of belting 
an inch longer than waist measure, and turn back the ends one-half inch. Sew the feath- 
erbones at the back, dropping the bone one-half inch below the belt. The front bone is 
sewed to the middle of the belt, and the other bones at the sides and back. This foun- 
dation is now put on the figure, and the girdle draped over it. 

THE SLEEVED are considered by some people as the most difficult part of a cos- 
tume. Great caution is necessary to keep them exactly alike from the time the slee\ es are 




Fig. 244. Fulness at Elbow 
of Sleeve Lining 



LINED WAISTS 89 

cut until they are finished and sewed in the armhole. If not cor- 
rectly cut and basted, one sleeve may be larger than the other. 
If they are not stitched in the armhole exactly alike, one may 
twist while the other hangs without a wrinkle. 

The first step before cutting the sleeves is to study the pat- 
tern instructions. Measure the sleeve and arm and make alter- 
ations in the pattern, if necessary, as instructed in Chapter XIV, 
"The Best Method of Altering Patterns." Be sure that the 
elbow of the sleeve comes in the right place. 

Next, the sleeve must be cut accurately and carefully basted. 
The seams should be pinned even at both top and bottom, and 
the extra fulness of the upper back edge gathered in at the 
elbow. (Fig. 244.) 

To be very accurate, the pattern should have the three-eighths- 
inch seam marked off. Trace the front 
seam through the pattern to the 
lining with a tracing- wheel. The back 
seam is traced through the line of per- 
forations. A one-seam sleeve should 
be basted with the upper and lower 
edges even. 

In joining waist and sleeve seams, 
short basting stitches are used, 
as shown in Fig. 244. Never place 
machine stitching directly on top of a 
basting. If the seam is stitched just 
outside the basting there will be no 
difficulty in removing the latter. 
Enough emphasis can not be laid on 

careful basting, as, next to cutting, it is the groundwork of 

dressmaking. If it is poorly done, it is the source of many 

future difficulties. 

// a Fancy Sleeve is to be made, the lining must be fitted 
first and the material draped or arranged later. In basting 
the lining, place the under piece of the sleeve upon the upper 
with the notches of the front seam together, and pin in posi- 
tion. Then baste this seam with small running stitches. Pin 
the back seam through the outlet per- 
forations from the top to the upper 
notch, and again from the lower notch 
to the bottom. The extra material 
of the upper sleeve portion is gath- 
ered into the space between the notches 

togiveroomfor the elbow. The seam is then basted. The sleeve 
should always be basted through the tracings, so that the same 
width seam will be taken off both upper and under sleeve por- 
tion. The outlet seam should be basted on the line of perfora- 
tions. 

Adjust the sleeve in the proper position, draw it up well on the 
arm, so that the elbow is in the correct position, and pin the 
sleeve in the armhole, with notches matched as directed in the pattern instructions. 
Distribute the fulness fairly evenly. More of it should come on the top of the arm than 
at the back or front. 

In a sleeve which sets correctly after basting, it will be noticed that the front seam, in- 
stead of lying perfectly straight when laid flat on the table, will roll somewhat toward the 
under side of the sleeve from the center of the seam to the wrist, as shown in Fig. 245. This 
is quite important, as many workers imagine that the sleeve should set perfectly flat the 
length of this seam. 

Drape the material on the sleeve lining, remove the bastings and press the seams flat. 





Fig. 245. Correct Location of 
Front Seam 



Fig. 246. Wrist of Sleeve 
Prepared for Facing 



90 



THE DRL55MAKLR 



Clip the front seam, then overcast or bind with a narrow silk binding ribbon. If it is de- 
sired to have a firm wrist edge an interlining of soft crinoline is placed at the bottom, one 
to two inches deep. With the sleeve right side out, roll the crinoline until it can be slipped 
into the wrist. Place the hand inside and move the fingers about until the crinoline fits the 
sleeve without either drawing or falling in folds; then baste. The rest of the work is done 
from the wrong side. Turn the sleeve inside out and turn up the bottom three-eighths of 
an inch. (Fig. 246.) Catch-stitch it to hold it down, then press. Face the wrist with a 
bias piece of silk, and slip-stitch or hem it at the upper and lower edges. Any trimming 

is added and the sleeve fully finished before it is 
basted in the armhole. After the sleeve has been 
sewed into the armhole the seam is overcast. 

A BLOU5L- WAIST is generally made with- 
out a lining. In some cases, for instance in a 
silk waist, a lining is desirable to save the silk 
from wear and strain. It differs from the lining 
used for a closely fitted tailored or draped waist 
in that it reaches only to the waistline, has but 
one dart, and, as the curved fitting at the waifet 
and hips is not required, it contains fewer pieces. 
Consequently, a simpler method of boning than 
that of the fitted waist may be employed. 

The pieces should be basted together and the 
lining fitted, any necessary alterations made and 
the under-arm seams stitched. Usually a hem is 
allowed for at the closing edges, but even if only 
a seam is provided, the closing line should be 
traced. 

In fitting, bring the closing line of both fronts 
together, and pin along the tracing, forming a 
seam toward the outside. Alterations may be 
made on this seam, if necessary, in which case a 
new closing line must be traced. If the closing 
edge is to be faced instead of hemmed, trim the 
edge, leaving only a seam's width. Cut a straight 
piece of the lining material two inches wide, and 
long enough to cover the length of both the front 
edges. Place the piece with one edge to the 
edge of the lining on the outside, and stitch a 
seam. Turn the facing over, making the fold 
come exactly at the seam, and stitch one-eighth 
of an inch back from the edge. 

The casing for the bone in the front edge is 
made by a second row of stitching, as shown in 

Fig. 234. At each of the seams, also, a casing is made in the same way. A bone is run 

into each casing and tacked in place, as seen in the dart seam in Fig. 247. 

The bone in the casing of each closing edge reaches only as high as the bone in the dart 

seam. If the closing is in the back, the bone may reach a height of five inches. 

The under-arm seam of the blouse-waist is usually basted separate from the outer 

blouse. The shoulder seams may also be stitched separately, if desired, or they may be 

stitched in the seam with the lining. 




Fig. 247. Dart in Lining Stitched 
for the Bone 



TO CL05L A BLOU5E.- WAIST when a lining is used as shown in Fig. 247, pin the two 
front portions of the blouse together, with the right side lapping over the left, as it should 
be when finished. Hook the lining at the closing; place the blouse over it with its cen- 
ter line directly over the closing line of the lining. Then pin each side in position and 
baste together around the neck and armhole edges. 

Small hooks are sewed on the right front, and buttonholed loops to correspond are 
worked on the left. If preferred, the closing of the blouse may be made by means of a fly 
with buttonholes on the right front and small buttons on the left. 



CHAPTER XVII 

UNLINLD DRL55L5 

FORMERLY the kind of dresses that were made without linings was strictly limited 
to those of washable materials, such as muslins, ginghams, lawns, etc. But so 
popular has the unlined dress become that we are now quite accustomed to seeing 
organdies, nun's- veilings, foulards and even crepe de Chines made up without 
linings. They are usually worn over slips, or well-fitting corset covers and petticoats. 

Before beginning work on the dress, read Chapter XIII, " Cutting Materials, 
Spongmg, Etc.," and Chapter XII, "Important Points and Aids." 

An unlined dress is really nothing but a blouse or shirt-waist joined to a skirt in what 
is now called "semi-princess style." The instructions given in the chapters "Unlined 
Waists" and "Skirts" will cover every point in the construction of the unlined dress, 
except the matter of the finish at the waistline. In dresses made by a dress pattern 
the waist and skirt should be joined according to the directions given on the pattern. 

Practically any unlined waist can be joined to a skirt in semi-princess style if the 
openings of the two garments come at the same place at the front, side or back. Of 
course the designs and materials of the skirt and waist must be suitable. 

When a skirt and waist are to be joined together each is made and finished inde- 
pendent of the other. But the belt-stay of the waist is basted to the inside of the 
blouse, and the belt of the skirt is basted to the skirt, but not stitched. 

When the two garments are finished put them on with the skirt over the waist. 
Adjust the fulness of the waist becomingly and pin the waist and skirt together. Then 
take them off and baste the two together at the waistline. Try the dress on again to 
make sure that the waistline is exactly right, and rip the belt-stay from the inside of the 
blouse before stitching the belt. 

IN CLOTH. SILK. CRLPL DL CHINE DRL55LS— in fact, dresses of any material that 
does not require laundering — stitch the waist and skirt together at the top and bottom 
of the skirt belt. Cut the bottom of the waist away below the belt and beneath it to 
remove all unnecessary thickness at the waistline. The belt can be covered with a 
girdle or sash. 

IN LINEN, GINGHAM. PIQUE, etc.. DRE55E5, the skirt belt generally finishes the 
waistline of the dress. It can be made either of the dress material or of some other 
wash material of a contrasting color. It should be stitched at the top and bottom after 
the waist and skirt are basted together. The bottom of the waist can be cut away 
below the belt, but not beneath it until the dress has been laundered. Then if the 
waist shrinks there is an inch or so of material under the belt by which it can be length- 
ened. After the dress has been laundered two or three times this can be cut away. 

IN LINGERIE DRESSES the belt is generally covered with lace or embroidery joined 
together to the required width. After the skirt and waist are basted together pin the lace 
belt over the waistline of the dress with its lower edge just below the lower edge of the 
skirt belt. Sew it securely in place, taking care not to stitch through the skirt belt. 
After the lower edge of the lace is stitched down, rip off the skirt belt and the belt- 
stay of the blouse and then sew down the upper edge of the lace belt. In this way you 
get rid of the two unnecessary belts. 

The bottom of the waist can be cut away below the belt before the dress is washed. 
Afterward, if the waist does not shrink, it can be cut away under the belt as well. 

Instructions for applying lace and insertions are given in Chapter I, "Sewing Stitches." 

The more severe unlined dresses and shirt-waist suits are finished in tailor fashion. 



CHAPTER XVin 

MATERNITY DRL55L5 



GARMENTS for maternity wear are so designed that they may be adjusted com- 
fortably to the changing figure and yet keep the trim appearance of a fitted gown. 
The clothing should be so skilfully planned and made that no undue pressure 
will rest upon any part of the body. If corsets are worn they must be very 
loose, and be laced with rubber lacings at the back and over the abdomen. Dresses 
and negligees may be made of attractive materials, prefer- 
ably of soft wool or silk, and in plain, solid colors rather 
than figured effects. They may be prettily trimmed with 
lace, embroidery and ribbon. 

The great trouble has always been with linings, for 
when they were once made and fitted there was no way of 
gradually enlarging them. This difficulty has been overcome 
by lacing the front seams or the darts. (Fig. 248.) 
Other necessary changes may be made by moving a few 
hooks and tapes. The waist lining should be basted and 
fitted in the usual way, making it fit neatly but not too 
snugly. Turn back the hem at the front of the lining and 
stitch it with the usual two rows of stitching, making the 
first row three-eighths of an inch, and the second three- 
quarters of an inch, from the edge. Work eyelets near the 
edge the entire length of the front of both sides, and 
run a very soft and pUable bone in the casing formed by 
the two rows of the stitching. Or, place the bone near the 
edge, as in an ordinary Hning, and sew eyes, but not the 
hooks, along both edges, and lace through them. It would 
be well to sew a fly or underlap about two inches wide 
underneath each front, and sew hooks and eyes on their 
front edges. Lace with a round elastic cord, such as is used 
for corset lacing. 

After the lining has been fitted, the under-arm seams should be pressed open and 
bound. The correct basting Lne in the side-front and side-back seams should be marked 
with tailors' tacks or chalk. 

Cut four strips of lining on the bias, making each strip three and a half inches wide 
and a bit longer than the side seams of the front and back. Baste a strip to the under 
side of the side-front seam with the raw edges together. Baste and stitch them three- 
eighths of an inch back of the edge. This forms a small plait under each seam, (Fig. 
248.) In sewing on the bias strip, one must be particularly careful to ease it over the 
bust on the outer edges of the side seam. In sewing the strip to the second edge of 
the side seam — the edge nearer the center front — the bias band should be stretched at 
the bust to make it easy over the curve of the figure. Baste the second bias strip to 
the second side seam in the same way as the first. Take out the basting threads in 
the side seams and sew back three-eighths of an inch from the edges. This gives you a 
small fold on which to work the eyelets for the lacing of the fronts. 

The other two bias strips are used to finish the side-back seams of the lining. They 
are handled just like the side-front seams and are also laced together instead of being 
stitched. The edges of the center-back seam are closed in an ordinary seam. 

The eyelets should be placed an inch and a quarter apart and a quarter of an inch in 
from the edge of the fold. (Fig. 248.) They are made with a stiletto and worked with 
the ordinary buttonhole stitch. 

02 




Fig. 248. 



French Lining wiih Plait 
and Lacings 



MATLRNITY DRL55E.5 



93 




Fig. 249. The Upper Part of Skirt 



In a lining made with a dart 

instead of a seam to the 

shoulder in the front, rip the 

darts open and mark the seams 

with a basting thread ; then 

make that thread the edge of 

a tuck, one-quarter inch deep, 

running not quite to the top 

of the dart. Work eyelets or 

sew eyes just back of the tucks 

of each edge of the dart seam, 

and slip a round bone into 

each tuck. 

The shortening in the front, 

which makes the ordinary skirt 

undesirable even when the belt 

is enlarged, is provided against 

in the maternity skirt by an extension at the top of the pattern as shown in Fig. 249. 

The crossline perforations indicate where a ribbon casing should be sewed on. A ribbon 

or ta}X' can be run through it, coming out at a small liuttonholed opening in the center 

front. When fitting this skirt 
pin a piece of tape around the 
figure where the belt would 
naturally come. The tape will 
show whether the perforations 
are in the right place for the 
casing. The part of the skirt 
which extends above the casing 
should have its raw edge over- 
cast or bound. As the skirt 
becomes short across the front 
and sides, the casing may be 
moved up toward the top to 
lengthen it. 

For maternity wear women 
should use rather long, loose or 
semi-fitted coats that will pro- 
tect the figure. If a semi-fitted 
coat is used it should be double- 
breasted so that the buttons can be moved over as the figure grows larger. In a well- 
made coat a woman can go about as usual without feeling uncomfortable or conspicuous. 




Fig. 250. The Inside Finish of 5kirt 



CHAPTER XIX 

TAILORED 5LAM5 



M 




Fig. 25 1 . Ldges of Pic 
Seam Pinked 



Fig. 252. Ldges of Plain 
Seam Bound 



ANY KINDS of seams are u.sed in the making of tailored costumes. It is necessary 
to keep the cloth extremely smooth at the seams and to make the stitching as 
even as possible. In making a garment that requires a tailored finish one should 
not be sparing in the use of bastings 

and the hot iron. He was a wise and honest \~ Z I ^ 1 

tailor who declared "In the flat-iron is our 

fortune," and the dressmaker who would \ { 1 \ 

be successful along the same line.s will do 

well to keep in mind this well-tried maxim. 

IN PLAIN SLAMS of very closely woven 

material that does not fray or ravel, the 

edges of the seams may be simply notched 

or pinked, and pressed open. (Fig. 251.) 
Plain seams of jackets, cloaks and other 

garments made of heavy material that will fray should be bound with satin, silk or 

farmers' satin. This is cut in bias strips just a trifle wider than the depth of the seam 

after it is closed. Stitch the binding on the right side of the seam edge, close to the edge, 

then baste it flat, covering the edge. Close the seam of the garment with bastings catch- 
ing through both cloth and bind- 
ings. Then stitch. 

A better way, requiring more 
labor, however, is to stitch the 
seam and press it open. After 
pressing, the seam will have 
spread at the edges, especially 
if it is curved, and the binding 
can be safely applied without any 
chance of pulling later. 

Baste the strip of binding on 
the right side of the edges; turn 
it over the raw seam edge and 

fell it down on the underside, keeping the turned edges of the binding even on both 

sides of the seam edge. (Fig. 252.) It is finished with one row of machine stitching 

close to the edge of the binding. 

When Trimming is to be apphed over seams, the plain seam is used. It should be 

finished completely, and pressed before 

the trimming is added. 

Joined Seamn of garments that have 

the lining cut like the outer pattern 

and stitched together, are finished by 

turning in the raw edges of the seams 

of both cloth and lining toward each 

other and closing the edge with over- 
hand or running stitches. Where the fjg 255. Broad Seam SUtched 

seam is curved, the edges must be 

notched every now and then to prevent the garment from pulling at such points. 

AN ORDINARY TAILORLD SLAM, which makes a good neat finish, is the plain seam 
pressed with both edges turned to one side, and a row of machine stitching run in neatly 

94 




Fig. 253. Stitching on One 
Side of Seam 



Fig. 254. Stitching on Both 
Sides of Seam 




TAILORLD SLAMS 



95 



along the one side of the seam from the right side of the garment as shown in Fig. 253. Or, 
if preferred, a row of stitching may be apphed to each side of the seam. (Fig. 254.) In the 
latter case, however, the seam should be pressed open before running in the stitching. 

A Broad Seam is a plain wide seam with four rows of ornamental stitching. (Fig. 255.) 
This seam is mostly used on tailored garments of heavy materials. 

A Cord or Tuck Seam is a plain seam with both edges turned to one side, and a row of 
stitching run one-fourth of an inch from the seam, through the three thicknesses of the 




Fig. 256. Cord 5eam 



Fig. 257. Vvelt 5eam 



goods. This creates a raised or cord-like effect. (Fig. 256.) The undesirable thickness on 
the under side may be cut away at the inner edge as close to the stitching as possible. 

A WELT 5E.AM is made by first stitching a plain seam with the one edge of the 
material left very narrow. Then turn back the fold and baste down close along the 
narrower seam edge. Stitch parallel to the line of bastings, keeping the seam flat. Fig. 
257 shows this seam with the machine stitches ripped out at the top to expose the nar- 
row seam edge underneath. 

A Double- Stitched Welt Seam has an additional row of stitching set in one-fourth inch 
or less from the edge. (Fig. 258.) 

An Open- Welt Seam is first basted as for a plain seam. The tuck is then basted down flat 





Fig. 258. Double-Stitched Welt 



Fig. 259. Open Welt 



with the stitches directly over the line of bastings in the seam. With one row of machine 
stitching the tuck-like fold and the .«eam are made secure. (Fig. 259.) 

The raw edges on the underside of an open-welt seam may be bound with velveteen 
or with narrow grosgrain ribbon, which can be bought for the purpose. Baste the 
binding over the double seam edges and stitch through all the thicknesses as near the 
edge of the binding as possible. (Fig. 260, on next page.) 



96 



THE DRESSMAKER 




Fig. 260. Open Welt Seam, Bound 



A SLOT SLAM is made by basting the seam as 
for a plain seam. The basting stitches should 
be short enough to keep the seam firm while 
it is being pressed open. Then baste an un- 
derstrip of the material a trifle narrower than 
the combined width of the seam edges, directly 
under the basted seam. (Fig. 262.) From the 
right side, stitch three-eighths of an inch on 
each side of the center. Reinove the bastings. 
The turned edges, now free, give the slot ap- 
pearance, whence the name. (Fig. 261.) 

A Double- Stitched Slot Seam is produced by 
stitching another row each side of the center 
close to the turned edges. (Fig. 261.) 

STRAP SLAMS are plain seams over which 

straps of the material are stitched for ornamental 

purposes. The strips for these straps may be cut 

lengthwise of the material from pieces that are 

left after cutting out the garment, but experience 

has taught that when silk is used it is better to cut 

them on the bias, and when the material is cloth 

the better result will be obtained if the straps are 

cut crosswise of the goods. 

For a finished strap that is five-eighths of an inch 

wide, the strips are cut one and one-fourth inches 

wide. Join the two raw edges with loose overhand 

stitches as shown in Fig. 10. page 4: spread out the 

strap with the line of joining directly on the cen- 
ter, and press. 

When making strap seams it is desirable to 
graduate the thickness at the seam as much as 
possible. For this reason, cut the seams either 
wide enough so the edges on the underside will 
extend beyond the edges of the strap, or, cut 
them narrower so the edges of the strap will ex- 
tend beyond the seam edges. 

Baste the straps carefully over the seams, with 
a line of bastings run along each edge. (Fig. 263.) 
When it is necessary to piece the straps for 

long seams, avoid having the joining seam in a prominent place on the garment. 

A LAPPED or IMITATION STRAP SLAM is the most practical finish for unhned gar- 
ments. The edges at the seams are lapped and the raw edges turned in with a row of 
stitches finishing it alike on the right and wrong sides. (Fig. 264.) 




Fig. 26 1 . Double-Stitched Slot Seam 




Fig. 262. Reverse Side of Slot Seam 




Fig. 263. Strap Seam 



Fig. 264. Imitation Strap Seam 



TAILORLD SLAMS 

A Raw- Edge Lapped Seam is used in making 
garments of heavy, closely woven material 
that will not fray or ravel. The seam edges 
must be cut very accurately and smoothly. 
Baste the edges evenly, lapping them the full 
allowance, and stitch as near the edge of the 
upper lap as possible. A second row of stitch- 
ing five-eighths of an inch from the first gives it a 
neat and tailored finish. The seam on the under- 
side should be trimmed off evenly. (Fig. 26.5.) 

One should be very careful in deciding on 
the style of .seam used on a tailored garment. 
Tweeds, homespuns, friezes and all other rather 
loosely woven woolen materials should be fin- 
ished with bound seams. In linens, pongees 
and crashes one should use the cord, bound or 
lapped seam. Broadcloth, meltons, kerseys, 
covert and other heavy driving cloths can be 
pinked, as they are so clo.sely woven that they 

will not ravel. To have a good tailored look the machine stitchings on any seam must 
not be too fine. The thread and needle should be of medium thickness and the stitch 
should correspond in size. 




Fig. 265. Raw-Ldge Lapped Seam 



CHAPTER XX 

POCKLT5 



A PHASE OF DRESSMAKING that is generally regarded as tedious and difficult is 
the work involved in putting pockets neatly into a garment. The difficulty, how- 
ever, is one that can easily be overcome by the simple remedy of "knowing how." 
The various styles of pockets used on tailored and boys' suits which require some 
technical knowledge will be treated in this chapter. 

A PATCH POCKET is, as its name implies, simply a patch sewed on three of its sides 



to the outside of the garment. 




Patch pockets vary in size and shape according to the 
style of the garment and the position they occupy. 
The upper edge that is 
left open may be sim- 
ply hemmed or faced, 
and trimmed in any 
way that the character 
of the garment may 
suggest. In all cases 
the essential feature of 
a patch pocket is neat- 
ness. 




rig. 266 
opening through to 



Facing of the Slash Pocket 



Fig. 267. Pushing Facing Through 
to Wrong Side 



the outside. 



A SLASH POCKET 

is one that is made on 
the inside of the gar- 
ment and has a slit 
Mark the line for the opening with tailors' tacks. 
Run a line of bastings in colored thread through the perforations to mark the line still 
more sharply, letting the bastings show on both sides of the material. 

Cut a piece of the suit material for a facing. It should be about three inches wide and 
an inch longer than the pocket opening. Baste it face down to the right side of the 
garment so that its center comes exactly over the pocket opening and the facing itself 
extends half an inch beyond each end of the open- 
ing. (Fig. 266.) From the wrong side of the gar- 
ment run anoth- 
er row of col- 
ored bastings 
along the line 
for the pocket 
opening so that 
the second row 
will show 
through on the 
pocket facing. 

From the 
right side place 
a row of ma- 
chine stitching 
on each side of 
the pocket line 
and about an 
eighth of an 
98 





Fig. 268. Pocket Slipped Under the Facing 



Fig. 269. Pccket Turned up and Stitched 



POCKLT5 




Fig. 2 , 0. Inside Vi 



of a Slash Pocket 



271. Outside View of a Slash Poctcet 



inch from it. (Fig. 266.) Tie the ends of the threads firmly so that the stitching can not 
pull out, and then cut through the pocket line with a sharp knife, cutting through both 
the facing and the garment material. Push the facing through the slit. (Fig. 267.) 

Rebaste the facing from the outside, letting it form a head or cording an eighth of an 
inch deep at the edges of the pocket. It should be stitched on the upper edge of the 
pocket hole from the right side. The pocket edges should be cross-stitched together to 
hold them in shape until the rest of the work on the garment is finished. Turn down 
the upper edge of the pocket facing as close to the stitching as possible, and press it 
fiat to the wrong side of the garment. (Fig. 269.) 

Cut from strong cotton or light-weight canvas a pocket piece about twelve and a half 

inches long and two inches wider than the 
pocket opening. Shape one end of the pocket 
like the curved pocket opening and insert it 
^f^ ~" ''"■'''"'"'■'■ '■'■'■ "S.. between the lower pocket facing and the 

garment, close to the opening. (Fig. 268.) 
Baste it in place from the wrong side, turn 
the garment portion over to the right side, 
and stitch through both facing and pocket. 
This row of stitching should be set close to 
the pocket opening. Turn under the lower 
edge of the pocket facing and stitch it to the 
pocket (Fig. 268), but be careful not to stitch 
through the garment. 

Now turn up the pocket about four and a 
half inches from the opening and baste it in 
place with its upper edge toward the top of tht- 
garment. From the right side, stitch through 
the garment and the pocket along the upper 
edge of the pocket opening. Turn under 
the edge of the upper part of the facing 
and hem it to the pocket. The easiest 
way to do it is from the right side, pushing 
/ the pocket and facing through the slit so that 

^ ^vJ:^:;;:■ ■ yr^v^^■v-.^.■/.^.v^. ' ^-^,^^^ ?T#• you cau gct at H easily. 

The sides of the pocket are closed with a 
\v hen the Poi^kei Oi>enin' is single TOW of machine stitching about three- 

Perfectly Straight ^ eighths of an inch from the edges. (Fig. 269.) 



100 



THE DRLS5MAKLR 



A Perfectly Straight Opening has a facing of material applied as directed above. (Figs. 
266-267.) Two pocket pieces are cut of caiiA'as. The lower piece should be four and a 
half inches long, the upper piece five inches long. Both pieces should be an inch wider 
than the opening. They are slipped under the facings, basted and stitched from the 
right side. (Fig. 272.) Strengthen the ends of the opening with a bar tack. 

The raw edges of the facings are turned under and stitched to the pocket pieces. The 
upper pocket piece is then turned down over the lower and basted and stitched to it 
around its three open sides. The raw edges may be bound or overcast. 




Fig. 273. In and Out Lap on Pocket 






\m 



I'M. 



& 



y 



^ 



k2i. 



m-. 



M 



M- 



M 






^w^ 



Iti 






ml iB(ii 



3_ jm 



fig. 2: 



Ope 



n Pocket with Lap Cut on a Slant 



IN A POCKET WITH AN IN-AND-OUT LAP the latter is finished completely before 
the pocket is begun. Cut the piece for the lap from the cloth, being careful to have 
the grain or stripe of the goods match when the lap is laid on the jacket in the position it 
will have when the pocket is completed. Turn in and baste a seam on three sides. 
Run two rows of even stitching around the edge from the right side, the first row one- 
eighth of an inch from the edge. Then add a lining of silk, slip-stitching it on by hand. 

Now lay the finished lap face down on the goods, with its raw edge down, and even with 
the line of bastings that indicate the pocket opening. The rest of the work is the same as 
for the pocket described above. In this case, however, that section of the facing 
strip which is supplemented by the lap is cut away. (Fig. 273.) 

AN OPEN POCKET is made similar to the one having an in-and-out lap. The lap is 
made straight or on a slant, not quite so wide as for a loose lap, and is joined to the gar- 
ment at the lower edge of the slit in an upright position, and is attached to it at each side. 

SIDE POCKETS OF TROUSERS are usually made in a seam. Cut a square piece of 
Silesia or stout lining material the size desired, and, doubling it over, notch the edges to 
indicate the pocket opening. Make corre.sponding notches in the seam edges of the trous- 
ers. Face the back edge of the pocket on both the right and wrong sides with bias 
facings of the cloth one inch and a quarter wide and long enough to 
extend from the top of the pocket to an inch below the notch in 
the opening. (Fig. 275.) Lay the front edge of the pocket edge to 
edge with the front edge of the trousers on their wrong side and baste 
it to them. In the same seam baste a bias facing of the cloth to the 
front of the trousers on the right side. This facing should be the same 
length and width as the facings on the back edge of the pocket. Stitch 
the pocket, trousers and facing together in a narrow seam. Turn the 
facing over onto the pocket and run a row of stitching close to the fold 
to hold it in place. Turn under the back edge of the facmg and stitch 
it to the pocket. Trim off the lower corners of the pocket (Fig. 275), 
and crease the edge for a seam toward the inside. The seam of the 
pocket may then be closed. Baste it first, and close it with one stitch- 
ing. The back edge of the pocket is caught to the front at the 
notches with bar stay-tacks. The upper edges are held by the waist 
band. Fig. 2 75 Side Pocket 




T 



CHAPTER XXI 

5KIRT5 

HL PRESENT 5TYLE of making skirts without linings has considerably simplified 
the work of the dressmaker. These unlined skirts, however, unless made of 
very heavy material, call for well-fitting underskirts as a foundation, and on them 
largely depends the fit of the overskirt. 




Fig. 276. A Ruffle fiustle 



THE FOUNDATION SKIRT may or may not be joined in the same belt with the over- 
skirt, as preferred. In either case, both the overskirt and the foundation are made 
and finished separately, with the exception of the placket and the belt. The foundation 
skirt is made first. Taffeta is the best material for this purpose, though for wearing 
qualities, some of the lining materials, mixtures of silk and cotton, or the better grades 
(jf percalines, sateens, etc., are preferred. 

Get a good pattern, and make a careful study of 
the figure which is to be fitted. Many women have 
a slight hollow below the waistline in the back — an 
ugly defect, but one which can easily be overcome. 
It is frequently found in connection with a round 
or prominent abdomen. 

A Small Light Bustle that will not interfere with 

the wearer's comfort, adds much to the set of the 

skirt on such a figure. It can be made of the same 

material as the foundation skirt. Cut a piece of 

the lining material the size and shape desired for 

a foundation, and hem or pink the edges. Make 

ruflfles four inches wide, and treat their edges in the 

same way. Sew several rows of these ruffles across 

the foundation piece, and one all around the edge 

except at the top. (Fig. 276.) The completed bustle 

may be attached inside the skirt, or it may be hung around the waist under the corset 

by means of a narrow tape sewed at each side. 

If the figure to be fitted is abnormally short or tall, stout or thin, or out of proportion 

in any way, instructions for adjusting the 
pattern to the figure will be found in Chapter 
XIV, "The Best Method of Altering Pat- 
terns." Separate patterns are used for the 
foundation and skirt except in the case of 
tunics, overskirts, etc. 

Cut the gores for the foundation skirt; 
baste them together according to the pat- 
tern instructions and fit the skirt. If the 
skirt is to end in a full plaiting at the 
lower edge, measure the width of the finished 
plaiting and deduct this width from each 
gore in cutting, allowing, of course, three- 
eighths of an inch on each for a seam. 

For the Plaiting, cut strips crosswise of 

the material. The combined length of 

these strips should measure at least twice 

Fig. 277. Plaiting Stitched on Foundation Skirt the width of the skirt at its lower edge. 




102 



THL DRL55MAKER 




Fig. 278. Plaited Flounce and Dust Ruffle 



Stitch them together and make a narrow hem 
along one edge. Then plait the entire piece. If 
a side-plaiting is used, run in a row of stitching 
along the upper edge to keep the plaits fiat. When 
an accordion plaiting is used, the upper edge may be 
l)ressed flat, and a gathering thread run in to keep 
the fulness of the plaits perfectly even. 

Lay the plaiting right side up along the lower 
edge of the skirt on the wrong side. Baste the 
raw edges of skirt and plaiting evenly together. 
Then on the right side of the skirt stitch a narrow 
bias fold or strip over these raw edges as shown 
in Fig. 277. This makes a neat finish on both the 
right and wrong side of the garment. 

If the foundation skirt is to be full length, the 
jjlaiting or flounce may be set on above the hem. 
i he skirt in this case must, of course, be tried on 
and the even length secured all around the lower 
edge, and the hem or facing finished before the 
flounce is added. 

A good way to get an even length is to notch 
a piece of cardboard at a point indicating the dis- 
tance of the skirt edge from the floor. Then put 
the skirt on, and have some one mark a line all 
around the skirt, using the cardboard as a guide and 
moving it along with its edge resting on the floor. 

A skirt-marker that can be adjusted to mark any 
distance from the floor is an improvement on this 

method, and a great aid to the dressmaker. 

It can be bought at any of the notion stores. 
When the skirt is ready for the flounce, 

plaiting or ruffle, mark a line parallel to the 

lower edge of the skirt a distance above it to 

equal the width of the finished plaiting. Then 

lay the flounce face down over the skirt, with 

the raw edge over this line and the hem of the 

flounce toward the belt of the skirt. Baste a 

narrow seam along the mark, and stitch. Turn 

^^^^^^^ the flounce over and stitch again three-eighths of an inch 
f^^l^Bm^Sf ' from the turned edge, keeping the plaits even and flat. 

If preferred, the flounce may also be hemmed at the top 
and stitched to the skirt with a narrow heading. 

If the plaited flounce is of chiffon, a dust ruffle of the 
silk is generally used under it. The lower edge of this 
ruffle is simply pinked, and the upper edge is finished with 
a very narrow hem. The ruffle is stitched on with a narrow 
heading. (Fig. 278.) 

Another good method for giving the graceful flare or ful- 
ness at the lower edge of a foundation skirt is by adding 
several tiny ruffles or ruchings to the plaited flounce or ruffle. 
These are cut bias if made of taffeta, and simply pinked 
at both edges and gathered or plaited through the middle. (Fig. 280.) 

A Simple Ruche of chiffon for the edge of a flounce is made by doubling a strip of the 
chiffon over on the center line with the upper raw edge turned under and the gathering 
thread run in along this line. (Fig. 279.) After joining as many strips of the chiffon to 
make the required length, cut the selvages off, as the stiffness will prevent the chiffon from 
falling into a soft, graceful ruche. 

A Three-Tuck Ruche is used when more fulness is desired than is given by a simple 
ruche. This is made by cutting the chiffon strips about seven inches wide. After joining 




nple Ruche for Edge of Chiffon 
Accordion Plaiting 



Fig. 280. Box-Plaited Ruche 




fig. 28 1 . Three-Tuck Ruche 



SKIRTS 103 

the strips as before, hold them in 
thirds, bringing the two raw edges 
together three-eighths of an inch 
from the folds. Run a gathering 
thread through all the layers of 
chiffon at one time. (Fig. 281.) 

A Puff Ruffle is sometimes used 
over a silk plaiting or ruffle. This 
is made of strips of chiffon double 
the width of the ruffle desired, plus 
the two inches recjuired for the' 
heading at the top. Fold the chiffon double, bringing the two raw edges together on a 
line one inch below the edge that will be the upper edge of the ruffle. Turn under the 
upper raw edge and run in the gathering thread, using small stitches. Baste and then 
sew the puff ruffle to the skirt above the silk flounce. (Fig. 282.) 

A Circular Flounce may be used as a finish at the bottom of the foundation skirt if 
desired. This may be cut from any good circular pattern. The lower edge is turned 
up in an inch hem and the upper edge joined to 
the skirt in a French seam. The flounce may 
be trimmed with tiny ruchings or ruffles as 
may be preferred. 

A Dust Ruffle is sometimes sewed on the inside 
of an outside skirt when it is desired to give it 
a graceful flare at the lower edge without ma- 
king it necessary to wear additional underskirts. 
The dust ruffle is also used on foundation skirts 
when one is desired. It is usually four inches 
wide, pinked at both edges and sewed to the 
skirt by hand with invisible stitches. The ruffle 
is held down at intervals by French tacks. They 
are made by taking a small stitch in the skirt 
and one in the ruffle, leaving a half-inch of thread between. Pass the needle back and 
forth once more, sticking it into the same place, and then work several loose buttonhole- 
stitches back over the three strands of the silk thread. (Fig. 283.) 

Foundation skirts vary in style and shape according to the prevailing fashions in outside 
skirts. These instructions are intended, therefore, to be of general use in making either 
drop skirts, petticoats or foundation skirts for evening dresses, etc. 

I|^ S^l ^"^ DRESS SKIRT is, of course, made and finished 

according to the material used and the style of 
pattern chosen. Directions for putting the skirt 
together will be found in the pattern instructions. 
If the figure to be fitted is out of proportion in any par- 
ticular, read Chapter XIV, "The Best Method of Alter- 
ing Patterns," before cutting out the skirt. The first 
step is to lay out the pattern on the material, follow- 
ing, of course, the perforations indicating the right 
grain of the material, and being careful to keep the 
nap or figure running in the proper direction. (Read 
Chapter XIII, "Cutting Materials, Sponging, Etc.") 
Mark the sewing line of the seam on each piece with 
a tracing-wheel, so that it will be easy to keep the stitching even. 

Before basting, lay the gores together, with the more bias edge on top (Fig. 284), and 
smooth the two gores out by running the hand lightly down and across with the weave 
of the fabric, being careful neither to pull nor stretch the bias edges. Beginning at 
the top, pin the edges together at intervals, and then baste along the sewing line with 
small even stitches until well over the hips, where the strain will come in fitting. 
Below this point the basting stitches may be longer. 




Fig. 282. Puff Ruffle 




Fig. 283. French Tack in Dust Ruffle 



104 



THE DRLS5MAKLR 




Basting a Bias Ldge to a 
Straight One 



Try on the skirt, and make alterations wherever neces- 
sary. Be careful not to fit it too tightly over the hips, or 
it will tend to make the skirt lose its shape by drawing up 
and wrinkling when one is sitting. To set properly, the cen- 
ter line of the front of a skirt must stand exactly perpen- 
dicular. Draw the skirt up well at the back, and mark the 
line for the belt with tailors' chalk, allowing three-eighths 
of an inch for the seam. 

Stitch the seams and press. The finish of the seams de- 
pends on the weight and texture of the material. See 
Chapter XIX, "Tailored Seams," for instructions covering 
the making of the various kinds of seams. 

The Placket of the skirt is usually made in a continuous 
lap when the outside skirt is not joined in the belt to the 
foundation skirt. (See Fig. 120, page 3.3.) If the two are 
joined in one belt, a simple placket may be made by lay- 
ing the placket-slit of the foundation skirt directly over 
the slit of the top skirt, with the right side of the material 
of both up. Then stitch a narrow seam each side of the 
slit, leaving a long thread at the lower end on each side. 
Turn the skirts over into proper position, press the seams 
and lap the placket by making a small plait at the lower 
end of the slit. Stitch securely by hand at that point, and 
sew hooks and eyes or patent fasteners in place to keep the 

placket closed. For other methods of making 
and finishing plackets see Chapter VI, "Plackets." 
The Belt is cut lengthwise of the material, long 
enough to lap as much as the width of the placket 
may require. Notch the strip for the belt at the 
center, being sure to allow the extra length for 
the placket lap at the left-hand end. Pin the 
belt with the notch at the center front of the 
skirt on the inside, and baste a seam, holding 
in the belt edge of the skirt, fulling it at the 
curve wherever necessary to prevent itsstretching. 
The additional fulness of the skirt is handled 
according to the pattern instructions. Before 
stitching the belt, the skirt should be tried on, 
and, if necessary, alterations made. The belt is 
then folded over the edge and hemmed down. 
The Hooks and Eyes are sewed on securely, the hooks on the right-hand end of the belt 
and the upper fold of the placket, and the eyes in 
corresponding position on the opposite side. 
The hooks should be one-eighth of an inch 
back from the edge, and the eye with the top 
touching the seam of the facing and skirt. 

A Hem two or three inches deep, is the usual 
finish of the lower edge of skirts. The extra 
length required for the hem must be allowed for 
when cutting. The patterns usually allow only 
three-eighths inch for seaming. If the material 
is of soft texture, the hem is simply turned 
under, its edge turned in and sewed down by 
hand in blind stitches, or finished with a row or two of machine stitching. It will be 
found that the lower edge of the skirt measures more than the line of sewing, so that, in 
turning up a hem, the edge must be fulled or laid in tiny plaits here and there, to make 
the hem lie fiat and give a straight even line on the lower edge of the skirt. (Fig. 286.) 
If the skirt is of heavy material the upper edge of the hem or facing may be bound with 
a bias strip of lining material instead of turning in the edge of the cloth. The stitching 
of the hem or facing should be made through the binding. (Fig. 285.) 




Fig. 285. Bound and Hemmed by Hand 




Fig. 286. Hem Gathered at Top 



SKIRT5 



105 





Fig. 287. Facing Hemmed 



.4 False Hem or Facing is sometimes pre- 
ferred for the finish of the lower edge, especially 
if there is a wide sweep at the bottom. The 
facing is cut in bias strips, or shaped to fit 
the lower edge of the skirt. The strips are 
pieced together and the seams pressed open. 
Then baste and stitch the facing with a narrow 
scam, to the lower edge of the skirt on the right 
side. Turn over to the wrong side and baste 
down flatly along the edge. Then baste again 
along the upper edge of the facing, turning in 
a narrow seam. (Fig. 287.) Stitch by machine. 

Velveteen or Skirt Braid may be added 
to protect the lower edge of the skirt, if de- 
sired. The velveteen strip is first stitched by 
hand, on the inner side of the skirt very near 
the edge, then turned up, leaving a narrow 
fold extending below the edge, and again 

sewed to the inner hem or facing, as shown in Fig. 288. The skirt braid should be shrunken 
— wet thoroughly and pressed dry — before it is used. It is sewed flat to the under side 
of the skirt, its lower edge one-eighth of an inch below the bottom of the skirt. Sew it 
with a running stitch, just above the lower edge of the skirt. The upper edge of the 
braid is hemmed down. In other words it is 
sewed with two rows of stitching — running 
stitches near its lower edge and hemming 
stitching at its upper edge. 

An Interlininrj may be used in the hem or 
facing if it is desirable to add weight at the 
lower edge of the skirt. The material used for 
the purpose may be strips of lining, or, ac- 
cording to the texture of the skirt material, 
any substantial material such as heavy flan- 
nel or broadcloth. These materials arc 
used where body is required in the gar- 
ment. Since it is simply a question of giving 
weight to the skirt edge, especially in the case 
of soft silks, etc., the interlining for the hem 
may be made of light-weight cotton flannel. 

The interlining is cut in strips as wide as 
the hem or facing, omitting the seam edges 




Fig. 288. Velveteen Finish 
on Bottom of Skirt 




at both sides. Baste it to the skirt along 
its lower edge, if the skirt is to have a fa- 
cing. For a hem that is to have an inter- 
lining, mark the skirt all around a distance 
above the lower edge to equal the width of 
the hem. Then the strip for the interlining 
is basted along this line. The hem is then 
turned up, and with the narrow seam turned 
in at the top, one row of stitching catches 
through both the hem edge and the upper 
edge of the interlining. 

When it is not desirable to finish a hem 
with machine stitching, and it must be done 
by hand, it should be done with blind or 
slip-stitches. When this is the case, the 
interlining must first be securely stitched 
on the inner side of the facing, or the 
turned-up portion of the hem, with the 
seam edge turned over the upper edge of 
the interlining. 



106 



THL DRL55MAKLR 



TUCKS are sometimes made above the hem for trimming or adding weight to the 
lower edge. If tucks above I he hem are desired, they should be basted in before the lower 
edge is finished. If the pattern does not allow for the tucks, the additional length must 
be calculated in the cutting. They may be of any width and of any number desired. If 
the lower edge of the skirt is straight, the tucking is simple. The greatest difficulty is 
when the lower edge is very circular in outline, for then the tucks must be marked and 
basted before the stitching is done. Usually the skirt is fitted and finished at the waist- 
line first. 

Ntm Tucks are wide tucks, usually two inches or more in depth. The method for 
making all tucks is the same, more or less, but the wider the tuck the greater the diffi- 
culty in keeping the lines and the dis- 
tances between the tucks even when the 
bottom of the skirt is circular at its 
lower edge. 

The number and width of the tucks 
must be decided before the skirt is cut, 
and the additional length allowed in 
each gore. For instance, when two 
tucks two inches wide are desired, you 
must add eight extra inches in the 
length, and two inches more if a hem 
is to be used also. 

After the gores of the skirt have been 
joined and the belt finished, the length 
of the skirt is made perfectly even at 
its lower edge. The easiest way to get 
an even line is to try the skirt on the 
figure, standing on a footstool or some 
elevation that will permit the entire 
skirt length, including the allowance for 
the tucks, to hang straight. 

The hem is then pinned up and basted. 
From the sewing line of the hem meas- 
ure the distance desired between the tucks (the hem is counted as a tuck in this in- 
stance), and from this point measure again to a line two inches above, for a two-inch tuck. 
Baste a fold evenly all around the skirt at this point, being careful not to twist at 
the fold edge nor deviate from 
the exact line. Mark with a 
basting thread a line two 
inches above and also one two 
inches below this fold edge all 
around the skirt. Then hav- 
ing the skirt on the lap board 
or sewing-table with its lower 
edge toward you, baste in the 
tuck by bringing these two 
lines together. It will be seen 
that the lower line is a trifle 
wider than the upper one, 
and this is just wherein the 
difficulty of making tucks lies. 
(Fig. 290.) As you proceed, 
the lower basting thread must be drawn up a trifle here and there, to keep the tuck 
perfectly flat on its upper surface. The final stitching can then be put in, either by 
hand or machine sewing. (Fig. 291.) For the second tuck proceed in the same way. 

PLAITE.D SKIRTS are more or less worn at all times, though some years they are more 
popular than others. Different arrangements of plaits are worn each season, but there 
are certain general instructions that apply equally well to the different styles of plaited 
skirts. 




Fig. 290. Preparing " Nun " Tucks 




Tucks 



5K1RT5 



107 



The first step, of course, is to read the pattern instructions carefully, and to get a 

clear idea of the particular style of the skirt that is being made. 

In cases where the skirts are composed of seven, nine or more gores it is not so difficult 

to handle them successfully, since alterations may be made at the seams. But in skirts 

where few gores are employed, particular attention must be paid to the correct position 

of the lines, in order to keep the plaits perfectly even. Furthermore, the skirt must be 

joined to the belt and the material between the plaits properly disposed, so that the plaits 

themselves will have a uniform appearance. 

Before cutting the material read the pattern instructions, examine the pattern and iden- 
tify the pieces, observing the notches 

and perforations according to the 

directions. No fixed rule can be 

given for laying out material for 

cutting. It is frequently necessary 

to open out double- width material, 

cutting each part separately. Be 

careful in this case to observe the 

right and left side of the garment. 

In cutting a skirt, make a length- 
wise fold in the material for the 

center of the front gore. Never 

start cutting with the widest part 

of your pattern toward the solid 

part of your material. Lay out 

your pattern carefully and place it 

on the material economically before 

starting to cut. If the material is 

narrow, it will be necessary to piece 

the lower part of this gore at each 

side; but this need not be done until 

after the rest of the skirt is cut, as 

some of the pieces cut from the side 

gores will probably be large enough 

for this purpose. 

Single-width material should be laid out straight for all breadths except the front. It 

may be folded across at half its length, or cut in two and reversed (if it has a nap) and 

cut double. After all the breadths are cut, and 
before removing the pattern, mark all perfora- 
tions except the ones that indicate the cutting or 
grain line, either with chalk or tailors' tacks. 
(See Chapter IV, " Practical and Ornamental 
Stitches.") In a plaited skirt remove the pattern 
and place a yard-stick on the cloth with its edge 
even with chalk mark or tailors' tacks, and draw 
a continuous line with chalk. Mark this line with 
tailors' tacks. (Fig. 292.) 

The long threads should be cut, the pieces 
separated, and the breadths joined at the seams. 
In sewing a bias edge be careful not to stretch it. 
Basting the seams is shown in Fig. 284 on page 104. 
For a Box-Plaited Skirt, after all the seams are 
joined (except the back seam, which is not basted 
until the plaits are all laid), begin at the front 
breadth and bring the two lines of tracings at each 
side of the center front together and baste. This 
forms a large tuck. (Fig. 29.3.) The next two 
rows of tracing are then basted together to form 
a second tuck. Continue in this way around 
each side of the skirt. Each seam corresponds 
Fig. 293. Basting the Plaits in Tucks ^o a ro\V of tracings, and is to be basted to the line 




Fig. 292. A Gore Traced for (lie Plaits 




108 



THL DRL55MAKLR 




Jits F^eady for Fitting 



formed at the perforations on the breadth 
toward the front. After the plaits are basted 
into tucks, each one is flattened to form a box 
plait, bringing the seam in the center on the 
wrong side. The method of forming the plaits is 
shown in Fig. 293. 

Be careful to get the box plaits even, without 
any draw, especially where the edges come bias. 
As each one is flattened, it should be basted a 
quarter of an inch from the fold edge, as shown 
in Fig. 294, to keep it in shape. This will be 
found a great convenience later. 

The skirt is now ready to try on. Draw it up 
to reach the waistline all around, and pin it to 
the petticoat at the hipline. Then, from the hip 
up, arrange each box plait in a good line. 
The basted seam at the center of each box plait 
can be ripped as far as the hipline and the 
waist adjusted to the correct size. The bastings 
at the edges of the box plaits will hold the 
plaits in place so that their size can not be inter- 
fered with. They may be brought closer to- 
gether to make the waist smaller or spread 
farther apart to make it larger. 

The edges of the box plaits should be pinned in correct position at the fitting, and when 
the skirt is taken off, they should be basted as pinned. The skirt can then be turned to the 
wrong side and the ripped seams rebasted. When this has been done, trace on the 
skirt the edge of each plait that has been altered. Then remove the bastings that hold 
them to the skirt, so that the under seam may be stitched. 

The plaits should be basted to the skirt again 
at the line of tracings made after the fitting. 
The bastings should run down as far as they are 
to be stitched. It would be advisable to rip 
the basting of the back seam, as the skirt can 
be more easily handled under the machine if it 
is opened out fiat. Stitch the plaits down 
through both plait and skirt to the desired 
depth. In cases where the plaits are not stitched 
the entire length of the skirt, the thread ends on 
the under, side must be securely tied, as shown 
in Fig. 295. Then baste and stitch the back 
seam, put on the belt, press the plaits in place 
to the bottom of the skirt and try it on again 
to secure the correct length. Finish the hem, 
placket and belt in the usual way. 

When a box-plaited skirt is put on the belt 
correctly, it will be noted that the space between the plaits over the hips is wider than 
at the belt because the waist is smaller than the hips. Where seams are provided, 
under the plaits the superfluous material may be taken out. W^here there is no seam, 
however, the fulness which occurs must be disposed of under the plaits. If this fulness 
is not too great, the material may be held a trifle easy, or, one might say, puckered or 
pushed toward the line of stitching. To present a thoroughly well-made appearance this 
fulness must be hidden; and on that account the plaits are very convenient. 

Notwithstanding the fact that it is possible to dispose of all the surplus material under 
one plait, it should not be done, since it would throw the other plaits out of position. 
There must be an equal space between the plaits. W^here the figure is out of proportion 
in any way, either very large around the hips or small at the waist, the quantity of surplus 
material is increased. While a small amount may be managed as directed, and after 




Fig. 295. Tying Threads 




Fig. 296. Arrangement of Dart 
under Plait 



SKIRTS 

careful pressing be unnoticeable, a larger quantity- 
would be too bulky, and had best be treated differently. 
When the plaits are laid the full length of the skirt, 
and the skirt is being fitted, side plaits or darts should 
be used to adjust the extra material to a small waist. 
Fig. 296 shows the method of placing the darts. If a 
dart is used it is sewed in a position that will come well 
under the plait so that there will be no likelihood of its 
being seen. Even if folded over, the upper edges of the 
box plait should not be disturbed, for this would disar- 
range the size and width on the outside. The material 
near the stitching is folded over one-eighth or one- 
quarter of an inch to form a dart-like tuck, and these 
new lines are joined or folded in such a way that they 
taper gradually into the line of the original plait just 
above the full part of the hips, as seen in the illustration. 
It should then be pressed flat, and the extra fold will 
not be objectionable. Treat the extra fulness in this manner where it is necessary, and 
keep the spaces an equal width. 

A Skirt Made with Side Plaits or Kilts is shown in Fig. 297. The manner of prepar- 
ing the skirt and marking the perforations that indicate the plaits is the same as that 
already described. At each line of tracing thread that represents the fold of a plait, the 
plait should be folded with the tracing thread as an edge, and the doubled goods 
should be basted one-quarter of an inch back of the edge. This will hold all the plaits in 

the correct line, no matter what alteration 
may be necessary in fitting. Many plaited 
models have one row of stitching placed 
just back of the fold edge, and through 
the two thicknesses only, in the same way 
as the basting just described. This row 
of stitching answers a double purpose. It 
is ornamental and at the same time holds 
the edge of the plait in shape, and is espe- 
cially desirable for wash goods or a thin 
woolen material that is likely to twist on 
a bias edge. The second row of stitching is 
placed a little distance back of the first 
and is taken through both plait and skirt. 
Stitch it to the desired depth and leave 
the ends of the thread two or three inches 
long at the end of the stitching, so that 
they may be drawn through to the wrong 
side and tied securely. (See Fig. 295 on 
page 108.) 

When a plaited skirt is made of heavy 
material or is lapped very much at the waist in fitting, it may be made less bulky by cut- 
ting away the surplus material after the plaits are stitched. The under-lapping goods 
is cut away to within an inch or so of where the stitching finishes. From that point it 
is cut across the top of the plait. The raw edges ieft in this way are bound with a bias 
strip of lining, that will finish across the top of each plait except where the seams that join 
the breadths form the inner fold of a plait, when the binding will continue down the raw 
edges of that seam to the bottom of the skirt. (Fig. 298 on the next page.) 

As each figure has some trifling peculiarity, careful study should be given the instruc- 
tions on the pattern and judgment used as to the best means of alteration or adjust- 
ment. It must always be remembered, however, that the tucks or plaits must be evenly 
arranged and that the space between them must be the same, as this is quite an im- 
portant point in making a plaited skirt. 

When a plaited skirt is made of washable material, the laundering is not difficult if 
one goes about it in the ripht way. The lower part of the skirt should not be pressed 




Fig. 297. Side Plaits with Two Rows of Stitching 



no 



THL DRESSMAKER 




out flat, but each plait as it is 
pressed at the stitched upper 
portion should be laid in posi- 
tion all the way to the bottom 
of the skirt, smoothed and ar- 
ranged with the hand and 
pressed into position. After- 
ward the iron may be run under 
the plait to smooth the part un- 
derneath. This is the same 
method that is employed in 
pressing a similar skirt made of 
cloth. In laundering or press- 
ing a skirt the value of shrink- 
ing the material before cutting and of observing the " grain " of the weave is realized. 
Gored skirts that have a side plait or an inverted box plait let into the seams some 
distance up from the bottom, are sometimes troublesome because of a tendency of these 

plaits to show below the bot- 
tom edge of the skirt since 
there is nothing to which they 
may be attached. This trou- 
ble may be avoided in the man- 
ner shown in Fig. 299. 

The seam edge and the edge 
of each of these plaits are bound, 
and after the skirt is finished 



Fi^. 298. Inside Finish of a Kilted Skirt 




Fig. 299. Supporting Inlaid Plaits 

a tape or strap of lining is sewed to the top of each plait 
and is carried from one to the other all around the skirt. 
The tape will generally be found sufficient stay, but in a 
woolen skirt of heavy cloth an additional tape or strap 
may run diagonally from the top of each plait to the next 
seam and be securely sewed there to the wrong side of the 
skirt. This stay also is shown in the illustration. 

Flare Skirts are many-gored skirts that do not hang in 
plaits below the hips, and are made to stand out from the 
feet at the lower edge. These need special treatment in 
finishing, to preserve the flare and make them hang in 
just the right way. The proper finish of the seams on the 
inside can be seen in Fig. 300. After the seams have been 
basted and stitched, it is advisable to try on the skirt and 
pin a tape around the figure to determine the hip depth to 
which the flat seam shall extend. At the same time the 
length of the skirt should be determined by pinning it up 
around the bottom or by marking it with chalk. Trace the 
line for the bottom of the skirt with a basting thread and 
also mark the skirt with a thread along the edge of the 
tape. At the hipUne clip both raw edges of each seam at 
the inside of the skirt in order to divide the flat-finished 
hip part from the rippled part. Make this clip or cut ex- 
tend the full width of the seam edges, running in as far as 




Fig. 300. Inside Finish of a Many- 
Gored Flare Skirt 



SKIRTS 



111 



the stitching of the seam. The seam above the clip 
is to be pressed open, clipping or notching it wher- 
ever necessary to make it lie flat. It may be 
finished with a row of machine stitching at each 
side of the seam and quite close to it, or both 
edges of the seam may be turned the same way, a 
row of stitching on the outside holding them in 
lap-seam effect. 

Mark the hem or facing depth at the bottom 
of the skirt — it is usually about three inches deep. 
Clip the seam in at this point; press this lower 
part of the seam open in order to hem or face the 
skirt properly. The part of the seam which has 
not been pressed open should be bound as shown 
in Fig. 301, using a narrow bias strip of lining 
material for the purpose. This portion of the 
seam is not to be pressed to either one side or 
the other, but stands out straight from the in- 
side of the skirt, and gives a fluted effect to the 

breadths. Baste a bias facing in place, hem the lower edge to the turned-over edge of the 
skirt. The upper edge may be hemmed by hand or may have one or two rows of machine 
stitching to correspond with the stitching on the upper part of the seams. The skirt should 
then be folded at each seam and placed in the machine in the same way as when the 
breadths were first stitched together, and a row of stitching, as shown in Fig. 301, made 
along the bound part of the seam close to the first row and extending across the facing, 
forming that into a small seam. 




Fig. 301. 



Seam Stitched Across Facing to 
Hold Flare Effect 



CHAPTER XXII 

COAT5 AND JACKLT5 



FITTED COATS, outlining the figure, require more care and attention in the making 
than fancy coats, though the latter, when finished, may look much more elab- 
orate. The first important step is to have the cloth thoroughly shrunken, accord- 
ing to Chapter XIII, '' Cutting Materials, Sponging, Etc." 

Measure the length of the back from the collar seam to the waistline, and the length 
of the arm from the armhole to the wrist, and alter the pattern, if necessary, according 
to the directions given with it. When the cloth is ready, lay the pattern on it to the 
best advantage. Be careful, if there is a nap, to place the pieces so they will all run the 
same way of the goods. Otherwise, the pieces with the nap running in the opposite 
direction will shade; that is, some will look darker than others. In cloth the nap should 
always run toward the bottom of the garment. In velvet it should run upward. Be 
sure to follow carefully the directions accompanying the pat- 
tern, in regard to the grain of the goods; otherwise the garment 
will draw and stretch. (See Chapter XIII.) 

When using full-width cloth — that is, fifty-two or fifty-four 
inches wide — many coats may be cut economically with the 
cloth folded lengthwise through the center, as it is folded when 
bought. For a long coat, however, it is sometimes necessary 
to open the cloth to its full width. Lay it out smoothly, 
with the wrong side up, and arrange the pattern upon it. 

Pin the pattern carefully to the material and cut it out with 
sharp scissors, following the outline most exactly. After 
you have cut the first half, lay it face down on your material, 
with the pattern still pinned to it, and cut the second half. 
Be sure that the nap runs the same way in both halves and 
that you do not cut two halves for the same side — a common 
mistake of the amateur. Clip all the notches, and mark all 
the perforations, except the ones that indicate the grain line, 
with chalk or tailors' tacks. (See Chapter IV, "Practical and 
Ornamental Stitches.") 




Canvas and Tape 
in Place 



THE FRONT of a cloth coat must be lined with a soft, pliable 
canvas, which should be shrunken before it is used. For a coat f'^-302. 
that is cut with a seam to the shoulder, the canvas is cut by 
the pattern of the front and side front. The canvas in the side front may stop three 
inches below the armhole on the under-arm seam and slope to the waistline on the side 
seam as shown by the dotted line in Fig. 302, or it may be used throughout the entire 
front. In a linen coat use butchers' linen instead of the canvas. In a silk coat use a 
lining material about the weight of a cotton serge, sateen or cotton henrietta in the 
fronts, and a light-weight lining canvas or soft crinoline for the collar, sleeve caps and 
wrist. These interlinings should be shrunken before they are used. 

Baste the canvas to the wrong side of the coat. (Fig. .302.) Then baste the seams of 
the coat and canvas together according to the notches, lapping the canvas edges flatly 
over each other and catch-stitching them together after the cloth seams are pressed. 
Try the coat on and fit it before stitching the seams. 

To give the coat more body over the bust, an extra piece of thin canvas not quite as 
heavy as used in the fronts should be applied to each front as shown in Fig. 302. Do 
not make a seam in the canvas to make it fit the bu t, but slash it and lap the edges to 
make it fit smoothly in the coat. This canvas should be attached to the other canvas 
in the fronts by padding stitches. Fig. 305 shows how these stitches are made. 

112 



COATS AND JACKETS 



113 



In a coat that is made with a dart instead of a seam to the shoulder in front, the can- 
vas must be cut with the pattern of the front as a guide. The canvas should be about 
six inches wide along the front edges of the coat. At the waisthne it should slope out- 
ward and upward to the under-arm seam, where it should stop three inches below the 
armhole. 

Fur and fur-cloth coats are generally without seams in front. If the coat is made 

of fur cloth the entire coat should be lined with cambric before the canvas is put in. 

(Fig. 304.) This cambric reenforces and strengthens the rather 

loose weave of the fur-cloth. It is also used in fur coats if 

the pelts are tender and perishable. 

If the coat is made with a dart, the darts in the coat and 
in the canvas should be closed separately. Take up the dart 
in the coat in the usual way, but lap the edges of the dart in 
the canvas and tack them together. (Fig. 304.) 

When the garment is an 
Eton or any other short 
jacket, the canvas inter- 
lining in the front is cut 
to the waistline and to 
the extreme front edge, 
whether the jacket is sin- 
gle or double breasted. 

Baste a piece of canvas 
the shape of the neck and 
shoulders of the back, and 
about two inches deep 
across the neck at the 
back, and similar pieces 
around the armholes of 
the back and underarm, to 
meet the canvas of the 
fronts as shown in Fig. 
303. This stays the coat and prevents the breaking 
around the armhole. The side seams, the vents at 
the back and the bottom of the coat are reenforced 
with cambric. (Fig. 303.) Stitch all the seams of 
the coat. If they are to be finished with stitching 
or lapped seams, press them before completing the 
finish. Instructions for different methods of finish- 
ing ornamental seams will be found in Chapter 
XIX, "Tailored Seams." 

FOR THL COLLAR cut an in- 
terlining of tailors' canvas. Use 
the collar pattern as a guide, 
but cut the canvas three- 
eighths of an inch smaller at 
all edges than the pattern. 
Of course the canvas should 
be shrunken before it is used. 
The " stand " of the collar — 

the part next the neck that stands up when the coat is worn — is 
marked by perforations. It is a crescent-shaped section which should 
be covered with several parallel rows of machine stitching about a 
quarter of an inch 




Fig. 303. How Cambric and 
Canvas Are Used 





Fig. 304. Canvas and Cambric in the 
Front of Fur-Cloth Coat 



/7>> 



Fig. 305. Padding Stitches 

in Collar lapel 



apart. (Fig. 306.) 

The canvas and 
cloth in the turn- 
over part of the col- 
lar, as well as in the 
or revers on 




Fig. 306. Stitching on the Stand of the Collar 



114 



THE DRL5SMAKLR 




Fig. 307. Stretch the Collar Between 
Notches 



the front, must be held firmly by many small stitches called "padding stitches." These 
stitches are about half an inch long on the canvas side and just barely caught through 
on the right side. Hold the collar or lapel firmly over the hand, the canvas side 
uppermost, and, in stitching, roll and shape the section in the direction in which it is 
to lie. (Fig. 305.) The stitch should be started at the line of the fold of the lapel or 
collar and worked in successive rows to the edge. The edges should be turned under, 
caught to the canvas and pressed. 

Baste the collar, canvas side up, fiat on the coat, according to the notches in the 
collar and in the neck. (Fig. 307.) Stretch the neck edge 
of the collar between the notches so that it will set 
smoothly on the coat. The upper or turnover part of 
the collar must lie flat, joining the turned-over lapels at 
the top of the fronts, to form the notched collar. 

When the coat has advanced thus far, try it on. Fold 
over the lapel corners at the top of the fronts and see 
that the collar is the correct size and fits properly. 
If it does not, it may be shaped by shrinking, stretch- 
ing and pressing. The front edges of the coat should 
lie close to the figure at the bust, and a well-fitted 
coat should hold itself in shape to the figure at this 
point, even when unbuttoned. If the coat is inclined 
to flare away at the front line, pin one or two small 
dart-like tucks about one-quarter of an inch wide at 
the coat's edge and running out to nothing about two 
inches inside the edge, to shape in the edge and take 
out the sti'etched appearance. Mark these tucks with 
chalk, remove the pins and slash in the canvas at each 

chalk mark. Lap the canvas the same space that the tucks 
were made, cut away one edge to meet the other, lay a 
piece of cambric over the slash and sew the cambric to hold 
it to shape. The cloth will still have the fulness that has 
been taken out of the canvas, and must be gathered on a 
thread, dampened and shrunk out with the iron. 

Narrow linen tape, well shrunken, should be sewed to the 
canvas toward the inside of the coat at the crease of the lapel, 
drawing it taut to prevent stretching. (Fig . 302.) The 
edges of the lapel and the front coat edges should also be 
taped, drawing the tape snug at these edges to give them a 
good shape. Press the fronts carefully. 

The Interlining, if the coat needs one, should be made of 
outing flannel or the regular silk-and-wool interlining that 
comes for the purpose. Cut it with the pattern of the coat 
as a guide, letting it extend an inch or two below the waist- 
line. (Figs. 309 and 310, on page 115.) Slash the interlining 
at intervals along the bottom so that it will not bind the 
coat. Do not put the interlining together with ordinary 
seams, but tack it inside the coat, letting one seam edge of 
the interlining overlap the one next to it. 

From the cloth, cut facings for the collar and fronts. The front facings must be cut to 
the shape of the front after the edges have been altered and taped. Lay the cloth on the 
fronts and over the lapel corners; pin it carefully in place, holding the front and lapel in 
to their proper shape; then cut it to the required width. It need extend only about 
three inches inside of the line that marks the center of the front. The collar facing, if 
of cloth, must be cut on the width or crosswise of the material and must not have 
a seam in the center of the back. 

Fit the collar facing to the canvas collar and join it to the front facings, matching 
the notches on the collar and the front facings. Press the seams open and baste to the 
canvas collar and to the front of the coat, turning in the edges of both coat and facing. 
This finish is for visible closing, when the buttonholes are to be worked through both 
the outside and the cloth facing. 




Fig. 308. Finishing the Fly 



COATS AND JACKETS 



15 




Fig. 309. Pad the Low- Fig. 3 1 0. The Sheet Wad- 
er Shoulder ding and Interlining 



A 5INGLL-BRLASTLD COAT PATTERN allows a lap which is ample for the button- 
holes on each front edge beyond the perforations that mark the center of the front. 
It may be finished with visible buttons and buttonholes or with a fiy which conceals 
the fastenings. (Fig. 308.) 

For a Fly Facing, leave the facing of the right side of the front separate from 
the coat below the lapel, as it will form the fly for the invisible buttonholes. Turn the 

edge of the cloth under on this right side. 
From the crease of the turned-over lapel to the 
bottom of the coat stitch on the upper or fin- 
ished .side of the coat one or more rows of 
stitching as a finish about a quarter of an inch 
from the edge. Then face this side with a piece 
of the silk lining. (Fig. 308, page 114.) 

The cloth facing for the right side must itself 
be faced upon the side toward the coat with 
a piece of the same fining (Fig. 308), and should 
be stitched a quarter inch in from the front 
edge. Baste the cloth underfacing to the inside 
of the right-hand side of the coat, and at the 
center fine stitch with one row of stitching 
through both coat and facing to hold them 
firmly together. Buttonholes are then worked 
in the facing at equal distances apart. The 
front edge of the facing should be tacked to the 
coat midway between the buttonholes. Now 
continue the row of stitching at the edge from the place where it began at the top of the 
right side around the turned-over lapels, around the collar and down the left side. 

COLLAR FACINGS of velvet are sometimes used, but instead of 
being applied directly over the canvas the edges of the velvet are 
turned under and catch-stitched to the cloth collar. If a velvet 
collar facing is used instead of one of the same cloth, it should be 
made of a seamless bias strip of velvet. Do not stitch the edges 
of the collar, but only the cloth turned-over lapels. One-eighth of 
a yard of velvet cut on the bias is usually enough for a collar facing. 
AH pressing and shaping of the collar must be done before putting 
on the velvet facing. 

The shawl-collar facing is sometimes cut in one with the front 
facing. The collar proper is cut and joined as just described — 
stitched to the body of the coat and pressed. The two facing sec- 
tions are joined at the back, and the seam pressed open. The fa- 
cing is pinned in position with right sides together. The edges 
are stitched and the facing turned over at the seam and rolled 
a little, covering the seam. The edges are basted and stitched. 
Baste the free edge of the facing in place, being careful to allow 
suflficient ea.se for the roll. Turn up the bottom edge of the 
coat over a narrow strip of bias cambric, and catch the coat edge 
to it. (Fig. 302, page 112.) 

If Padding Is Needed, a few layers of sheet wadding decreasing toward the edges may 
be basted around the armhole from the front of the shoulder to the back, deepening 
under the arm, and made thick or thin as the figure may require. (Figs. 309 and 310.) 
If you wish to make the shoulders look more square, place a triangular piece of wadding 
on the shoulder with the point at about the middle of the shoulder seam and the wider 
part at the armhole, making the wadding thick enough to give the required squareness 
to the shoulders. If the shoulders are uneven, fit the upper one and pad the lower 
one with a triangular piece of wadding. (Fig. 309.) 

Baste the Seams of the Sleeves and try them on. If they need any alteration in size 
around the arm, make it at the seam marked by outlet perforations. A bias strip 
of canvas, or whatever is used in the fronts, three inches deep should be basted into the 
wrist just above the turning line of the hem part, and the cloth turned over and 
catch-stitched to it. (Fig. 311.) 




Fig. 311. Interlining 
and Cap 



116 



THE DRL55MAKLR 




Fig. 312. Gathers 





Fig. 313. The Inter- 
lining 



If a vent or opening is provided at the outer seam of the sleeve the exten.sion on the 
upper part is turned under for a hem; and the lower part, neatly faced with the lining, 
forms an underlap. This opening may be closed by buttons used as a decoration or by 
buttons and buttonholes. Finish the edge with one 
or two rows of machine-stitching to match the 
stitching on the edges of the coat. If stitching at 
cuff depth is desired it must be made before closing 
the outside seam. 

Cut a piece of cambric in the same outline as the 
top of the sleeve and about three inches deep, and 
baste it in position to the inside of the sleeve. 
(Fig. 311.) Gage the top of the sleeve with two rows 
of gatherings, as shown in Fig. 312. This is done 
by taking up a short stitch on the upper side and a 
longer stitch on the under side. All the stitches 
of the second row should be directly underneath 
those of the first row. Baste the sleeves into the 
armholes, try the coat on to see if the sleeve sets right and then stitch it. 
In some sleeves the fulness at the top is taken out by small darts. 
These are marked with tailors' tacks, as directed on the pattern, stitched, 
cut and pressed open. Often if the fulness is slight, it can be shrunken 
out entirely. It is first gathered with one row of very fine gatherings 
and then placed over the small end of a tailors' padded cushion. 
(Illustrated on page 128.) A damp cloth is laid over the sleeves and 
they are pressed with a hot iron until dry. (Figs. 314 and 315.) 

TT'orA; the Buttonholes, the top one 
just at the lowest corner of the turned- 
over lapel, and sew the buttons at the 
left side to correspond, sewing through 
coat and canvas, but not through the facing. 

THE LINING is the final step of coat-making; the out- 
side must be entirely finished, the pockets put in, and 
all the ornamental stitching done before beginning on the 
Hning. Silk or satin is unquestionably the only satis- 
factory lining for a coat. One of the 
several silk substitutes may be used 
for lining a gown, but only the greatest 
necessity for economy excuses its use 
as coat lining. White satin of a good 
firm quality is attractive, but satin 
matching the shade of the cloth is 
more serviceable. 

Cut the lining from the same pattern 
as the cloth, allowing for any altera- 
tions which have been made in fitting. 
Cut the lining of the fronts to extend to the front facings only, 
and cut the back pieces each one-half an inch wider than the pattern 
to allow for a small plait in the center back. Leave good seams, as 
the lining must be quite easy. If it is tight it will draw the outside 
of the coat and make wrinkles. 

Baste a small plait at the center back to avoid any possibility of 
tightness. With the back piece of the lining basted in the coat, the 
two outer edges will be raw. Catch these raw edges flat with a loose 
basting stitch to the inside seams of the coat over which they lie. 
Now take the next piece of the lining and baste it through the cen- 
ter to the corresponding piece of the coat, then turn under the edge toward the back 
and baste it down like a hem over the raw edge of the back piece, notching the edges 
of both seams at the waistline and immediately above and below it, so they will fit 
the curves of the coat. 



Fig. 3 1 4. Shrinking the Small Sleeve 




Fig. 315. 

Before After 

Shrinking Shrinking 



COATS AND JACKLTS 



117 




Repeat this method with each piece of the Uning. Turn it up at the bottom, allow- 
ing a httle of the cloth to show. 

After all the edges are turned under, and basted over the preceding pieces and over 
the raw edges of the facings in front, and over the edges of the collar at the neck, 
they are neatly felled down to the cloth. (Fig. 316.) Be careful not to catch through 
the cloth to the outside. The Hning of the sleeves is cut like 
the outside, and the seams are stitched and pressed open. The 
lining is sHpped inside the sleeve and hemmed down at the 
hand and on the small opening at the back of the wrist if 
there is an opening allowed in the sleeve pattern. It is then 
drawn up in place, and basted through the cloth of the sleeve 
about five inches from the top. Then draw up the sleeve lin- 
ing, turn in the raw edge, and baste it to the coat lining all 
around the armhole and fell it in place. If the sleeves are to 
be interhned the interlining should be tacked to the sleeve lin- 
ing. It is used on the upper part of the sleeve only and 
should stop three inches below the upper edge and three 
inches above the wrist edge. (Fig. 313, on page 116.) 

Occasionally one has to line a coat for which there is no 
pattern. If the coat has had one lining and it is only a 
matter of replacing it by a fresh one, rip the old lining apart and 
press each portion open. Fold the new material with the two 
cut ends together, and, taking one-half of the old hning, lay it 
carefully on the material so that it will cut to the best advan- 
tage. Trace the seams, or, if the lining will crease, turn back 
the seams and crease the sewing hne. The seams may all be 
Fig. 316. InsideofCompleted stitched save the under-arm and shoulder seams. The extra 
Coat half-inch plait is basted down the back, and the bastmg is not 

removed until the lining is hemmed in. Tack the seams of the 
lining to those of the coat, with long loose stitches. Fold under the seams of the back at 
the underarm and the shoulder, and hem them down with small stitches. 

If the coat has had no previous lining, place the garment wrong side out over the 
padded bust form, and fit a piece of silk to the front. The material for the back is 
creased down the center back and basted in one-half inch to form the plait previously 
described. Pin the lining straight across the back the entire length of form. Crease 
the silk along the line of the seam, and cut, allowing three-eighths-inch seams. 

Pin on the side portion, keeping the same grain of the material. Fold back the mate- 
rial along the line of the sewing, and cut it away, allowing seams. Turn under the 
seam, baste and hem it to the back portion. The next portion is cut out in the same 
manner, the seams creased and hemmed. Care must be taken to keep the grain of the 
lining the same as that of the garment and also to baste the lining in very easy, so that 
it will not draw the outer material and cause it to wrinkle. 

A RUSSIAN BLOUSE, JACKET is not difficult to make. Follow the same direc- 
tions for laying the pattern on the material and marking the perforations that are 
given on page 121. Face the jacket opening and insert the pocket as directed by the 
pattern instructions. Baste the body portions together, try on and stitch. The 
seams should be pressed open and the edges bound. Or, if lapped seams are preferred, 
the seams should be cut wider and finished according to the method described in Chap- 
ter XIX, "Tailored Seams." Finish the front and lower edges of the jacket according 
to the pattern directions. 

The deep collar on the jacket should be lined with a piece of lining material of the 
same shade. The collar should be turned under a seam's width at its edge and finished 
with one or more rows of stitching or braid around it. The lining is also turned under 
a seam's width, and hemmed to the underside of the collar covering the stitching. 
The neck portion of the collar is joined to the neck according to the notches, with the 
seam toward the outside of the jacket or blouse. The collar lining is then turned under 
at its neck edge and hemmed to the neck of the blouse, conceahng the seam. 

Bind the seams of the sleeves in the same manner as the seams of the jacket and face 
the wrist with a cuff, according to the directions of the pattern. Baste the sleeves in 



118 THL DRL55MAKLR 

the armhole, try the coat on, and if the sleeves set properly stitch them in by machine 
and bind the raw edges. 

The coat is fastened with buttons and buttonholes either in a visible or blind closing. 
If a blind closing is desired, a double strip of lining is cut for the fly and stitched one- 
fourth inch from the outer edge, and again along the inner edge through all thicknesses. 
It is tacked along the outer edge of the coat midway between the buttonholes. If a 
visible closing is used, the buttonholes should be carefully worked, using the eyelet but- 
tonhole. Directions for working eyelet buttonholes as well as the correct manner of 
sewing on the buttons will be found in Chapter II, "Buttonholes." 

A belt either of the material or of leather is slipped through straps of the coat material 
which are fastened at each under-arm seam. When a cloth belt is used it should be 
stitched at its edges to correspond with the stitching on the jacket. 

There are many variations of the Russian blouse jacket, but the methods of finishing 
them vary so little from this model that the worker will have no trouble with them whatever. 

FOR A NORFOLK JACKLT cut the material carefully as directed and mark the 
perforations for seams, box plaits, pocket opening, etc. 

Bring the thread lines marking the box plaits together, baste and stitch. This 
makes a large tuck, which is flattened to form a box plait by bringing the seam exactly 
under the center. As each one is flattened it should be basted one-quarter of an inch 
from each fold edge. Press well. The box plaits at the front must match those of the 
back on the shoulders. 

If the box plait is applied, cut the plait by the pattern. It is better to stitch the 
plaits separately and slip-stitch them to the jacket. Interline the belt with canvas 
and hem a lining to the turned-over cloth. When the jacket is made with a seam run- 
ning to the shoulder in both the front and back portions, the simulated box plait is 
applied afterward over these seams, covering them. 

Insert a pocket in each side of the jacket in the manner described on page 100, Fig. 
273, in the chapter "Pockets." Face the fronts with canvas from the shoulders as 
shown on page 123. Join the back of the jacket to the side and front pieces and press the 
seams open. In the upper corner of the front that is to turn over as a continuation 
of the collar, the canvas and cloth should be held together with the " padding stitch." 
In this figure is shown an inside view of the front with the canvas and pocket in place. 

The collar is cut from the cloth, and a canvas interlining for it is cut a seam's width 
smaller at all edges than the collar itself. The space from the perforations that mark 
the turning line of the collar to the neck edge should be stitched with several rows of 
machine stitching. The remainder of the collar is to be filled with padding stitches 
as shown in Fig. 305. The cloth edges of the collar are turned over the canvas and catch- 
stitched to it. The collar is then hemmed by hand to the outside of the jacket, the end 
of the collar and the turned-over corner at the top of the jacket fronts forming a notch 
collar. The canvas should be trimmed away a seam's width from this corner and down 
the front of the jacket. Cut a facing for the collar and a front facing like the front, 
extending back an inch beyond the turned-over corner at the top. 

Lay the front facing face down on the outside of the jacket fronts and stitch a seam 
around the corner and down the front of the jacket; turn it over and baste near the 
edge. Baste the collar facing to the collar, turn under the edges and slip-stitch to the 
collar, and to the front facing where it joins it at the top. Stitch one or two rows 
around the edge of the collar and down the fronts. Turn up the bottom of the jacket 
according to the pattern directions. 

Cut the back fining like the cloth back, but allow a half-inch plait down the center 
of the lining. Cut the lining of the front and side pieces in one, laying a dart-like plait 
from the shoulders, running out to nothing about five inches down. Full directions 
for lining a coat will be found on page 116. 



CHAPTER XXI II 

BOY5' 5UIT5 



THE MAKING of a boy's suit is not at all a difficult matter if one goes about it in the 
right way. There are a few tedious details of finish, the proper carrying 
out of which determines the success of the suit. A hot iron is a necessary requis- 
ite to good work, and its frequent use will help much toward the progress of the 
suit. Follow the pattern directions closely and there will be no trouble. 

Before Cutting have the cloth shrunk and pressed. Then lay the entire pattern out 
on the material to the best advantage, as explained in the pattern instructions. With 
tailors' chalk trace the seams along the perforations that indicate the sewing line of 
the outlet seams. With tailors' tacks, one long and two short stitches (see Chapter 
IV), mark these seams through the two thicknesses of the cloth. Cut the stitches and 
separate the pieces. 

The various sections of the suit should have the pockets in place before they are 
joined. Mark the positions of the pockets as indicated by the perforations. 

THE. TROU5LRS will be our first consideration. As the initial step, baste and stitch the 
darts in the back portions of the trousers, and press them open. In the right-back portion 
make a pocket, instructions for which will be found on page 98, Chapter XX, "Pockets." 

The Fly is next put into the 
front portion. Baste a facing, cut 
from the fly-piece pattern, to the 
^M \ fiiSS^P^MH^Wk^ outside of the front edge of the 

^H \ f ' Jm left-front portion, with the notches 

^H fli ' m ^ even. Stitch a narrow seam from 

^H ^B ' # \ ^^^ ^°P ^^ *^® notch. Turn the 

^Hj ^A^ * v^ facing to the wrong side, and 

^H |i^ # , - -^-^ ^ iiw u iii ^''^''^^^ ^^ ^^^' '^^^^ *^^ ^^°*^ ^^ ^^^ 

gJIB| f" I f-^-"^ WlB^^^ seam edge entirely covering the 

f^l I ' — 1[ ^^J^^k Now lay together, face to face, 

1^. \ I it -^I^L. *^° ^y pieces, one of cloth and one 

^J (* °j^^^^^^ °^ lilting) and stitch a seam on the 

•• ' ^ 3^^^^W notched edge from the top to the 

notch. Turn it to the right side, 
baste flat and press. 

It is more convenient to make 
the buttonholes in the fly now, 
than after it is stitched in place. 
They are worked from the cloth side, the first one coming just below the waistband. 
Then baste the fly into position, its edge a trifle back of the edge on the left front of 
the trousers. Stitch one-quarter inch back of the buttonholes, through the four thick- 
nesses of goods, down from the waistband, ending in a curved line on the lower edge. 
(Fig. 318.) Tack the fly between the buttonholes to the facing. Overcast the raw edges 
on the inside. 

The underlapping fly piece for the buttons on the right front of the trousers should 
be faced with lining; the seam sewed at the unnotched edge. The notched edge of the cloth 
piece is then basted and stitched to the edge of the right front of the trousers. This seam 
is then pressed open. Turn under the lining, clipping the edge to make it lie flat, and 
baste it to the cloth seam. From the right side stitch neatly an even line down close 
to the bastings and across the free edge at the bottom. 

119 




Fig. 3 1 7. Inside View of Trousers Having no Fly 



120 



THL DRL55MAKLR 




Fig. 3 



Inside View of Pocicet with Buttonhole Fly 



Small trousers buttons are sewed on in position corresponding to the buttonholes on 
the opposite fly. 

For the Smaller Boys, when buttons and buttonholes are impracticable, the small 
facing provided for in the pattern is attached to the right side of both of the fronts, 
turned in and stitched down. (Fig. 317, page 119.) The front seam is then closed from 
the notch above to the waistline. 

The Side Pockets should be put in 
next. Complete instructions for ma- 
king them will be found on page 100, 
Chapter XX, "Pockets." 

Trousers Having no Fly Closing have 
the waistband divided into a front and 
back waistband, leaving an opening at 
each side of the trousers. In this 
case the extension on the side of 
the back pieces of the trousers is 
faced, thus forming the under- 
lap for the opening. The loose 
edge of the pocket piece is then 
faced on both sides with the 
cloth, and two rows of stitching, 
a quarter of an inch apart close 
to the edge, give it a firm finish. 
Now the upper edges of the 
pocket are basted to the upper 
edge of the trouser's front. (Fig. 
317, page 119.) 

Make a bar, overcast or buttonholed, between the two rows of stitching, catching through 
the cloth, and both sides of the pocket at the top and at the bottom of the opening. 
The pocket may now be closed. Round off one or both of the corners, and, turning in 

the seam with the raw edges toward 
the inside of the pocket, stitch securely. 
The Outside Seam of the trousers is 
closed next. In knickerbockers, it is 
stitched in a seam all the way down. 
The lower edge of the leg is gathered in a 
casing with an elastic. In trousers fin- 
ished with a band the extension allowed 
at the lower part for an opening at the 
side is turned under for a facing 
on theupperside,and faced and 
used as an extension on the 
underside. The band can be 
fastened with a buckle or with 
a button and buttonhole. After 
stitching the seam, turn the 
raw edges toward the front. 
From the outside, run a line of 
stitching one-eighth of an inch 
from the seam. 

Now stitch and press open 
the inside seam of each leg. 
The two leg portions may then be joined, beginning the seam down the back at the 
waist, and extending it to the notches in the lower edge of the fly pieces, including in 
the seam the seams of the fly pieces below the notches. Press this seam open and 
baste over it, flat on the inside, a piece of tape or a bias strip. Stitch from the outside 
a row on each side of the seam. Turn the end of the tape over and hem neatly down 
at the end of the fly stitching. On the outside, at the end of the fly opening, make a 
strong stay-stitch or bar, to keep it from tearing out. 




Fig. 3 1 9. Outside View of Fly and Pocket 



BOYS' SUITS 



121 



The Top Edge of the trousers is turned over a seam, and a strip of lining stitched to it, 
then basted down in a faced hem. A band, with the buttonholes worked in it with stout 
thread or twist, is basted over this faced hem, and from the right side stitched through 
both facing and band at the lower edge and the ends. A strong tack thread should 
catch the band and the facing between the buttonholes. 

The Lower Edge of each trousers leg is hemmed up by hand with invisible stitches. 

RUSSIAN BLOUSES for little boys' suits vary considerably in detail of style, but 
they are generally made without lining. They may or may not have a pocket; they may 
be perfectly plain or made with tucks or box plaits; with sailor collar or with a stand- 
up band, or to be worn with a linen collar. 
They may be trimmed with braid, chevrons and 
badges, with hand embroidery, or wMiout 
either, as the case may require. 

In cutting observe and mark all perforations 
and notches for seams, box plaits, pocket open- 
ings, etc. See Chapter X. 

If a pocket is desired it should be put 
the left-front piece before the seams are 
closed. Proceed as directed in the in- 
structions for the pocket on page 98, 
Chapter XX, "Pockets." 

Bind the raw edges of the front and 
back pieces at the seams with lining 
satin or seam-binding. Baste the pieces 
together and stitch. If preferred, a seam 
requiring no binding may be made by 
allowing a wider seam when cutting and 
arranging a lap seam, as explained in 
Chapter XIX, "Tailored Seams " Then 
press it flat and from the right side stitch 
an even row down on each side of the 
seam. 

The Front is closed by means of 
buttons and buttonholes whether in 
fly, the single lap, or double-breasted 
style. In case of a fly make a strip of 
hning, doubled, in which the buttonholes are 
worked. This strip is then basted to the 
overlapping front, one-fourth inch from the 
outer edge of the blouse, and stitched from the 
outside through all the thicknesses, on the line 
of the inner edge of the fly. Tack the fly be- 
tween the buttonholes. With a visible closing, 
the eyelet buttonholes are used. See Chapter 
II. The lower edge of the blouse is hemmed. 

The Sailor Collar should be turned under a 
seam's width around the outside edge, and all the trimming sewed on it before the col- 
lar is lined. Turn under the outside edges of the collar lining a seam's width and baste 
it to the wrong side of the collar with the edge of the hning about an eighth of an inch 
within the edge of the collar, keeping the corners straight and being careful not to 
stretch or pull the edge of the cloth. Baste the lining to the back and sides of the col- 
lar, then stitch, turn to the right side and press. Baste the cloth neck edge of the collar 
to the neck edge of the blouse, according to the notches, with the seam toward the 
under or outside of the blouse and stitch. Baste the Hning neck edge over the seam. 
Hem it down by hand. Fig. 320. 

The Sleeves may have a cuff or not, according to the pattern. The seams are stitched 
and finished like the seams of the blouse. Baste the sleeves into the armhole and try 
the blouse on before stitching by machine. Bind the raw edges at the armhole with a 




Fig. 320. Basting the Lining to Collar 



122 



THL DRL5SMAKLR 



bias strip of the lining or with seam-binding. For illustrations see Chapters X, 
•'Children's Clothes," and XI, "Sailor or Naval Suits." 

A Belt, either of leather or of the blouse material, is worn with the Russian blouse suit. 
It is slipped through cloth straps which are fastened, according to the perforations, at 
each under-arm seam. When a belt of the material is used it should be stitched flat, 
to correspond to the stitching on the collar. 

A NORFOLK JACKET is somewhat more 

like a coat, in that it is lined and has a 

more strictly tailored finish. In cutting, ob- 
serve all the notches, perforations, etc., and 

mark the material accordingly. 

The chalk or thread marks indicating the 

box plait are then brought together, and a 

large tuck stitched. Spread it out, bringing 

the sewing directly under the center line of 

the plait. Baste along both edges and press 

flat. 

If preferred, the box plaits may be made 

separately, if the pattern does not allow for 

them. Turn under the side edges of the 

cloth three-quarters of an inch and baste. 

(See Fig. 322.) The plaits are then stitched 

to the jacket three-eighths of an inch from 

the edge. 

A Pocket with a Lap is made in each side 

of the front piece, behind the box plait. 

For making the pocket see instructions on 

page 98, Chapter XX, "Pockets." 

The Yoke, if one is used, is cut by the pat- 
tern and basted in position with its lower 
edge turned under. 
Stitch it flat with 
a row of stitching 
three-eighths of an 
inch from the edge. 
Cut the cloth away 
from under it, and 
press. 

Now face the 
fronts of the jacket with canvas from the shoulder, as shown 
in Fig. 323. The upper corners of the fronts, that are turned 
over to form the lapels, are made firm with padding stitches 
run through both cloth and canvas. 

A cloth facing, a little wider than the lapels, is basted to the 
right sides of the fronts. Stitch a seam across the lapel cor- 
ner and down the front edge. Trim away the canvas from the 
seam as close as possible, and turn the facing back. Baste 
the edge flat, and stitch it down neatly three-eighths of an 
inch from the edge. 

The shoulder and side seams joining the fronts and the back 
of the jacket may now be closed. Press these seams open. 
Turn up the lower edge of the jacket and baste it flat. 

The Collar is cut from two pieces of the cloth and one of 
canvas. The cloth piece for the top of the collar is a seam's 
width wider all around than the canvas. Baste the latter two 
pieces together, and trace the turning line of the collar. The 
Fig 322 Separate Box Plait crescent-shaped space thus outlined is the part that stands up 
Ready to Apply to Jacket ' i" the finished collar. To give it stability and strengthen the 





Fig. 32 1 . Front View of Jacicet, Pieced 



BOYS' SUITS 



123 



curve, run several rows of stitching across it, parallel to the tracing. The other part 

of the collar is covered with "padding stitches." (Fig. 324.) Now baste the top collar 

piece over this foundation; turn the edges under and baste. 

The collar is then basted to the jacket on the outside of the neck edge. Baste it on 

carefully, avoiding any possible stretching out of shape. At the points where the collar 

meets the lapels of the jacket, the canvas must 
be cut away to make a neat joining. 

The Sleeves are cut, the seams stitched and 
pressed open. Turn the wrist edge up as far as 
the pattern allows, and baste it fiat. Then run 
a line of stitching around it, as directed in the 
pattern instructions. Following the notches, 
baste the sleeves into position and try on the 
garment. If they set properly, they may then 
be stitched in by machine. 

If cuffs are provided for, they are made sep- 
arately, and slip-stitched to the sleeve over the 
wrist edge after the lining has been put in. (See 
page 52, Chapter X, " Children's Clothes.") 

The Belt has an interlining of canvas, stitched 
in at the same time with the row of machine- 
stitching that finishes it three-eighths of an inch 
around the edge. The lining is then added by 
hand. Two buttonholes are made, two inches 
apart, at the round end of the belt, and two 
corresponding buttons are sewed on the straight 
end. An opening through which the belt is run 
is allowed under each box plait in the jacket. 

The Buttonholes are made with eyelets as 
described and illustrated in Chapter II. 

The Lining for the jacket is the next con- 
sideration. Cut the back by the pattern for 
the jacket, allowing a half-inch plait down the 
center, which keeps the lining from drawing 
the outside cloth out of shape. Baste this little 
plait down. Now secure the lining back into 
position on the inside of the jacket. Baste the 
raw edges at the side seams over the corresponding seams of the cloth, but do not 
have the bastings show through to the right side of the jacket. Do the same at the 
shoulder seams. At the neck edge clip the curve enough to make the lining lie smoothly; 
slip the raw edge under the 
collar and baste the latter 
down over it. 

Each lining front is cut 
in one piece, with a dart- 
like plait allowed at the 
shoulder which graduates to 
nothing five inches below it. 
Baste each piece into posi- 
tion in the jacket. The raw 

edge at the side seam is turned in and hemmed down by hand, covering the raw edge of 
the back piece. It may be necessary to clip the edges slightly to prevent any possible 
drawing at the seams. 

The raw edges down the front are, likewise, turned in and stitched down over the 
cloth facing by hand. At the shoulder, the seam of the back lining laps over the raw 
edge of the front piece. The top collar piece is then stitched down by hand. 

The sleeve lining is cut by the sleeve pattern, the seams stitched and pressed open. 
Slip it into the jacket sleeve with corresponding seams together. At the wrist edge 




Fig. 323. Inside View of Jacket Front, 
Before Lining is Added 




Fig. 324. Showing Padding Stitch and Machine Stitching 
on the Collar 



124 THEDRL55MAKLR 

turn in the linins: and hem it to the cloth sleeve by hand. Hold the lining in place by 
running a basting thread around the sleeve about four inches from the upper edge. 
Lastly, turn under the upper edge of the lining, baste it down over the raw edges of the 
armhole and sew down by hand. 

The lower edge of the Jacket may now be closed in the same way; all basting threads 
that show are pulled out, and the jacket is given a final pressing wherever necessary. 

Boys' suits should always be made of strong, durable materials of as good a quality 
as one can afford, for they get very hard usage, and a poor cloth will not only wear out 
quickly, but is also likely to stretch and lose its shape. For cold weather heavy serges 
and cheviots are about the best materials one can get. For the spring use lighter 
weight serges for every-day suits, and tweeds and homespuns for better wear. These 
last materials are extremely smart-looking, but they are loosely woven and are not 
practical for school suits. They are generally used in the light shades of gray and tan. 
In summer weather heavy linen crash is an excellent material for ordinary wear. The 
lighter linens on the order of a good-quality French linen are very nice for better suits. 



CHAPTLR XXIV 

RLMODLLING 

ONE ought, at the verj'^ beginning of each season, to set to work to take a critical 
survey of last year's wardrobe. It is the easiest way to find out exactly what new 
clothes are needed and exactly how far one can go with the old ones. Coats, suits 
and dresses that are still in sound physical condition, but which have grown out 
of style, should be remade. The remodeling of a pair of sleeves, the recutting of a 
skirt, will almost always give a new lease of life to a suit, while there are dozens of clever 
little ways by which one can completely obliterate the date of vintage of a gown. 

Decide first what clothes are worth remaking. When the materials are badly worn 
it is hardly worth while going to any amount of trouble in the way of renovations. But 
when the material is sound and whole it is little short of criminal not to take advantage 
of its possibilities. 

If one feels inclined to take a little trouble — and with a good dye there is practically 
no trouble at all — one can completely disguise a last year's suit or dress by changing it 
to another color. 

DYLING is a very simple thing, but there are certain hard and fast rules in regard to 
it that must not be disregarded. In the first place you can not dye a silk or wool material 
with a dye intended for cotton and linen. Neither can you dye cotton and linen with a 
silk and wool dye. In the second place, you can't change dark colors into lighter ones. 
In the third place, the material must be prepared carefully for the dyeing. If there are any 
grease spots or stains they should be removed as thoroughly as possible. (Chapter XXV.) 

Afterward the material should be washed for two reasons. The first is, that if the 
material is put into the dye soiled, the dirt will mingle with the dye and the result will 
be muddy instead of bright and clear. The second is, that as much of the old dye should 
be taken out, or "discharged," as it is called, as possible. Other\. 'se it will be impos- 
sible to predict how the mixture of the two dyes will turn out. 

Cottons and silks can be washed in soap and boiHng water, but it is not safe to use 
soap to any great extent on wool materials, as it softens the wool. Boil the materials 
about half an hour, changing the water as it becomes discolored. Keep up the wa.shing 
until the water remains clear — a sure sign that all the dye has been discharged that is 
likely to do any harm. 

It is best to dye the material while it is still w(>t from the washing, as it absorbs the 
dye more readily and more evenly in that condition. Be sure to follow the directions 
given with the dye you use. A good reliable dye compound will be accompanied by 
explicit directions, which yovi must take care to follow. You must be especially careful 
in picking out a dye that will suit your material. White, of course, can be dyed any 
color. Pale shades can be dyed darker or changed into other slightly deeper colors. 
A material of one color dyed with a dye of a second color will emerge from the fray an 
entirely different shade from either. For instance, if you dye a yellow material with a 
light blue dye, you will get green; while the same light blue over light red makes purple, 
and over light green makes peacock. A dark blue dye over brown makes navy blue, and 
over yellow, bottle green. A brown over blue makes dark brown ; over green makes 
olive brown; over red makes seal brown. There are dozens and dozens of combinations 
and variations of colors that one can bring out by a clever combination of dye and 
material. I always hark back to the old safeguard of experimenting first and doing the 
actual business afterward. 

After you've dyed your material, take it out of the dyeing fluid and hang it up until 
it is nearly dry. Then rinse it out in clear water to prevent its crocking. If a material 

125 



126 THL DRL55MAKLR 

has been dyed black it is better to defer the rinsing until it has dried thoroughly. It 
will leave it a better color. 

If you do not dye your material you should clean it carefully. Directions for remov- 
ing different kinds of spots, stains, etc., are given in Chapter XXV, "Care of the Clothes." 

IN MAKING OVLR A WA15T it is sometimes necessary to use quite a httlc new 
material; but when chemisettes, yokes and half-sleeves are in fashion it is an easy matter 
to supplement the old material with net, lace, chiffon, etc. In remodeling a waist or 
dress, put it on a bust form and stuff out the sleeves with tissue-paper. Look it over 
carefully, taking a mental note of the points that require alteration. Sleeves and skirts 
frequently need to be recut. If piecing is necessary, see to it that the seams fall in 
places where they will not show or where they can be covered with trimming. 

If the dress is to be entirely remodeled, rip it apart with a sharp knife or a good pair 
of pointed scissors Be careful not to stretch the material as you rip, especially at the 
neck and armholes. Brush the seams carefully, and remove all the clipped threads. 
If you find that the material has changed color you may be able to use it on the reverse 
side, even if the weave is slightly different. 

After the material has been thoroughly freshened — washed, pressed or dyed — lay it 
out on the new pattern and see if it requires piecing. If necessary, piece the hning so 
that it will set comfortably. It should be easy across the bust and shoulders, and snug, 
but not tight, over the waist and hips. In piecing, cut the patches on the same grain of 
the material as the original garment. Never piece at the neck or armhole with a bias 
or straight piece of the material. Lay the new fabric on the old, following the grain of 
the latter. Hem the piece down neatly, and then cut the garment over by the new 
pattern. 

Fit the Lining Carejully, and then drape the outside over it after you have cut it 
according to your pattern. By using fancy trimming pieces, collars, yokes, plastrons, 
etc., you can almost always remodel a waist so that the piecing will never show. Lace 
or net for yokes, chemisettes, etc., can be dyed the color of the dress either at home or 
at a regular dyeing establishment. Lace can be dipped in tea to give it a rich cream 
color that can be made lighter or darker according to the strength of the tea. 

RLMODLLING A 5K1RT is an easy matter if the new pattern is narrower than the 
old skirt. In that case it is only a question of recutting; but if the pattern calls for 
more material than you have in the skirt itself you will have to do some piecing. Braided 
bands covering the skirt seams are an excellent way of increasing the width of a skirt. 
Or you can raise the skirt at the waistline, refit it, and add to it at the bottom by a band 
or a fold. Or it may be pieced at the bottom and the line of piecing covered by wide 
braid, bias bands, etc. 

Linen or Pique Skirts can often be lengthened by bands of embroidery insertion or by 
bias bands of the material itself. These skirts are very apt to shrink around the hips. 
They should be ripped from their waistbands, raised and refitted. Of course, in such 
a case, they will have to be lengthened. 

Coats should be remodeled by an up-to-date pattern. If they require piecing, try 
to let it come at a seam and cover it with a stitched or braided band. Quite frequently 
it is easier to cut a coat suit down for one of the daughters of the house than to remodel 
it for the mother. But do not use a material that is old and somber for a child without 
relieving it by a trimming that is bright and youthful-looking. A black-and-white pin- 
checked wool or a dark serge is apt to make a dull frock for a little girl, but if it is 
trimmed with bands of red serge or red-and-white plaid silk it becomes childish-looking 
and pretty. 

Many mothers think it wiser to supply the clothes for their boys from the ready-made 
garments which can be bought at a small cost. On the other hand, nothing accumu- 
lates so fast in every household as half-worn clothing, and the dead capital that it repre- 
sents is apt to make the thoughtful ones draw a deep breath. But making over half- 
worn garments into presentable and at the same time durable clothes for boys is quite a 
different proposition from any we have previously discussed. 

In making suits, reefers, and overcoats a tailored finish is the first requirement. 
It should not alarm a novice, for it only means neat work, even stitching and careful 



REMODELING 127 

pressing. For the pressing you will need heavy irons evenly heated, and a piece of 
unbleached muslin that can be dampened and laid over your work. 

In ripping apart the old coat or suit that is to be remodeled for your little son, notice 
carefully all the small devices of interlining, canvas and stitching that the tailor used 
in making the garment. You can repeat many of them in your own work. If you use 
the old canvas and find that it has grown liinp, you can restifFen it by dampening it 
thoroughly and ironing it with a heavy iron thoroughly heated. Full directions for 
making boys' trousers are given in Chapter XXIII, "Boys' Suits," and Chapter XX, 
''Pockets." Chapter XXII, on "Coats and Jackets," will give you all the necessary 
information you will want for finishing the jackets or overcoats. 



CHAPTER XXV 

CARL OF THL CLOTHES 

GOOD PRESSING is a very important part of dressmaking and tailoring. Special 
boards and tailors' cushions may be made at home or bought from anj' dressmakers' 
supply house. 
Skirts, coats and long garments require a large flat surface for pressing. Either 
the family ironing-board or a table is best. While it is a very general custom to press 
a seam open with the point of the iron, a far better result is obtained by pressing the seam 
over the curved edge of the ironing-board. By this means the edge of the seam will not 
be printed on the garment. 

A board for sleeves and seams is usually made from two to three feet long, and tapers 
from five to six inches wide at one end to three inches wide at the other. Both ends, as 
well as all the edges, are rounded. An ordinary rolling-pin, covered first with a piece of 
old blanket sewed firmly in place, and then with smooth cotton cloth, makes a satisfactory 
sleeve-board. It also answers well for pressing other seams. 

For opening seams, the board should be covered with one thickness of firm, smooth, 
woolen cloth similar in character to broadcloth. The texture of cloth upon which goods 
are to be sponged or pressed should 
be fine and soft, and in several 
thicknesses, as a coarse fabric will 
leave the imprint of the texture or 
weave. A hard surface must be 
provided for seams that require 
pressing to keep them permanently 
open. A large cushion, tightly 
padded, is necessary for pressing 
darts or curved seams. In a plait- 
ed skirt the plaits over the hips 
should also be pressed over this 
cushion. Curved seams or darts 
which have been properly stitched 
may be stretched and pulled out of pjg 335. jailor's Cushion for Pressing Curved Seams 

shape by careless pressing over a 
flat surface. An illustration of a tailor's cushion, used for curved seams, is shown in Fig. 325. 

Dampen the seam, if the material will permit it, and press slowly, bearing down heavily 
on the iron. Very little dampness should be used on cashmere and henrietta, as it flattens 
the twill and spoils the texture. Little or no dampness should be used on silk. A cloth, 
well wrung out of water, may be used on these materials and their seams may be damp- 
ened slightly. 

Velvet must be pressed over flannel so as not to injure the nap. Il velvet trimming 
requires much pressing, as is sometimes the case, it is better to mirror the velvet first. 
This is done by passing an iron over the surface of the velvet, ironing with the nap. After 
velvet has gone through this process it can be pressed as much as is necessary. If the iron 
can be held with the flat surface upward by a milliner's steaming-box or a tin box, the 
seams of perishable materials can be pressed open by running the seam over the surface of 
the iron. 

Nearly all pressing is done on the wrong side. Suitings and heavy cloth may be pressed 
on the right side by steaming. Wring out a cloth as dry as possible and keep it over the 
place to be pressed. Have the irons hot and press firmly until the cloth is nearly dry. 
Turn the garment to the wrong side and press until thoroughly dry. 

The shine which sometimes comes in pressing may be removed by placing a dry cloth 

128 




CARE OF THL CLOTHES 129 

over the shiny place. Then wring out cas dry as possible a second cloth which has been 
thoroughly wet. Place it over the dry one and with a hot iron pass lightly over the spot. 
If the material has a nap requiring raising, the place may be brushed with a stiff brush and 
the process of steaming repeated. 

Many fabrics retain the imprint of the basting thread under heavy pressing. For such 
material it is necessary to give a light pressing first, removing all basting threads before 
the final pressing. 

ALL CLOTHES should be taken care of as systematically as possible, as their period 
of usefulness depends entirely on the way they are treated. Lingerie and washable 
waists and dresses should be mended hejore they go to the laundry. A small hole will 
become a large one in washing, and not only is the work of mending doubled, but the 
injury to the garment is frequently irreparable. 

Woolen clothes — dresses, suits, coats, skirts, etc., should be brushed regularly and 
watched closely for such small matters as loose buttons, frayed skirt braids, missing- 
hooks and eyes, and soiled chemisettes or yokes. Coats should never be left lying 
carelessly over chairs and should never be hung up by the collar or armhole. They 
should be kept on hangers when they are not in use so that their necks and shoulders 
will not lose their shape. 

Dresses and waists should also be kept on hangers, and if they are made of light, per- 
ishable materials they should be slipped into great bags of cheese-cloth to keep them 
from the dust. The bag should be as long as the waist or dress. If one has plenty of 
closet room it is much better to keep one's evening dresses hanging up in bags than to 
lay them in chests or drawers where they can not fail to become badly wrinkled. 

Skirts should not be kept on wooden hangers as they are likely to become stretched 
at the hips. Small strips of braid or ribbon should be sewed inside the waistband of 
each skirt — one on each side and an equal distance apart. The skirt should be hung 
by these hangers on two hooks placed just far enough apart to keep the belt taut. 

Winter clothes should be brushed and cleaned and then put away during the summer 
months with plenty of gum camphor, moth balls or some other safe moth preventive. 
Summer clothes should be put away clean and packed as carefully as possible so that 
they will not need pressing when they are wanted again. Sheets of blue tissue-paper 
can be put between the folds of white dresses to prevent them from turning yellow. 

CLEANING can frequently be done at home with very little trouble and expense. 

TO CLEAN WOOLEN GOODS, the simplest method is washing in warm water and 
soapbark. Get ten cents' worth of soapbark and pour over it two quarts of boiling 
water. Let it stand until the strength is taken from the bark, strain, and pour into a tub 
of lukewarm water. Let the goods stand for half an hour in the suds, then rub well and 
rinse in another water of the same temperature to keep the goods from shrinking. Press 
on the wrong side before it is thoroughly dry. Experiment first with a small piece of 
the material to be sure that it does not change color or shrink badly. 

FOR SILKS, mix six ounces of strained honey and four ounces of a pure soap with 
one pint of pure alcohol. 

Lay each piece of silk flat on a table or marble, and with a brush cover the silk with the 
mixture, first on one side and then on the other. Brush the silk as little as possible and 
always straight up and down. Dip the silk in several tepid rinsing waters, the last one 
mixed with a little honey. Do not wring the silk, but hang it up, and when half dry iron 
with a cool iron on the wrong side. 

A French method of cleaning black silk is to sponge the silk on both sides with spirits of 
wine and then iron on the wrong side with a piece of muslin between the silk and the iron. 

Ribbons may be cleansed in the same way and rolled smoothly over a bottle or round 
stick to dry. 

VELVET is cleaned by steaming. First brush the velvet thoroughly with either a soft 
or stiff brush until all dust and lint are removed. It is better to use a soft brush if the 
velvet is not too dirty. 

If a milliner's steaming-box is at hand invert a hot iron in the box and cover the face 
of the iron with a good-sized piece of muslin which has been thoroughly wet. This 



130 THL DRLSSMAKLR 

produces steam, and the muslin nuist be moved along as it dries. The velvet is held with its 
wrong side against the muslin and brushed carefully with a soft brush until the pile of the 
velvet is raised. Always brush against the nap. The pile may also be raised by holding 
the velvet tightly over a pan of boiling water. 

FOR BLACK LACES, an old-fashioned cleaning mixture is made by boiling an 
old black kid glove in a pint of water until half the water has evaporated. Strain, and, if 
necessary, add a little cold water. After brushing the lace dip it up and down in the 
liquid. Then roll it over a bottle, or pin smoothly over a covered board, to dry. 

WHITE, LACL may be washed in a suds of pure soap, then thoroughly rinsed and 
pinned over a covered board, to dry. Some laces will stand ironing on the wrong side. 
Let the lace partially dry, and iron over several thicknesses of flannel. 

GRLA5L SPOTS on woolen or silk are best removed by naphtha, gasoline, ether or 
chloroform. These solvents are highly inflammable, and must, therefore, never be used 
near a light or flame. In applying any of them to grease stains, place a piece of cloth or 
blotting-paper underneath the stain to absorb the excess liquid. Rub the spot from 
the outside toward the center until dry so that the liquid will not leave a ring. Ether and 
chloroform are less liable to leave a ring than gasoline or naphtha. 

A good mixture for removing grease spots is made from equal parts of alcohol, benzine 
and ether. Powdered French chalk or fullers' earth may be used by placing the powder 
over the stain and holding over a heated iron. The heat will dissolve the grease, and the 
powder will absorb it. 

MACHINE-OIL STAINS may be removed in the following manner: Moisten borax 
and rub it on the stain from the outside toward the center, taking care not to spread it. 
Pour water through the material. Washing with cold water and a pure soap will remove 
most stains of machine oil. 

BLOOD-STAINS may be taken out by washing with soap and tepid water. They may 
also be removed by covering the spot with wet laundry starch and allowing it to stand. 
Afterward it should be washed. 

ON INK-SPOTS, if still moist, rub either salt, meal, flour or sugar and wash in cold 
water. Or, lemon-juice may be put over the spot and covered with salt. Then place the 
article in the sun for awhile, and wash. The process may be repeated, if necessary, until 
the ink-spot is entirely removed. 

Another method for removing ink-stains is to let the material soak in javelle water, 
made from one-half pound of sal soda, two ounces chlorid of lime and one quart of water. 
After soaking a few minutes wash in clear water. 

IRON RUST is removed by the same mediums as ink. 

MILDEW is the hardest of all stains to remove, and can not always be taken out suc- 
cessfully. Any of the mediums used for ink and iron rust may be tried. For silk only, 
dip a flannel in alcohol and rub briskly first on one side and then on the other. 

PAINT, when fresh, can be softened with vaseline and washed off with benzine. Or, 
it may be rubbed with equal parts of turpentine and alcohol. If a grease spot remains, 
remove it with benzine. Tvirpentine mixed with a little ammonia is also good. Wash 
off with soap-suds or benzine. 



The Delineator 

A Monthly Magazine 
for Women 



/CONTAINING special departments 
^^ devoted to Fashions, Dressmaking, 
Tailoring, Needlework, Housekeeping, 
Fiction and articles on Topics of the 
Day. The current styles are illustrated 
in color and pen-and-ink by well-known 
artists, and described and explained by 
the foremost Dressmakers and Designers 



In 

The Delineator 



NOV 18 1911 



One copy del. to Cat. Div. 
NOV tS )9ii 



